JazzInsideNY August 2011

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Comprehensive Directory of NY Club, Concert & Event Listings

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CONTENTS

CLUBS, CONCERTS, EVENTS 23 Calendar of Events, Concerts, Clubs 38 Directory of Clubs, Venues, Music and Record Stores, Schools & Universities, and more 60 Noteworthy Performances

FEATURE 6 Barry Harris by Eric Nemeyer

JAZZEDUCATION SOURCEBOOK 12 Jazz Education Program Directory 14 Robert Hurst, University of Michigan 15 Scott Reeves, City College of New York 17 Marco Pignataro, Berklee College of Music 19 Gordon Goodwin, Arranger, Composer, saxo-

phonist, Educator

INTERVIEWS 34 Howard Alden 35 Yelena Eckemoff 36 Steve Kroon 48 Dick Griffin

PERFORMANCE REVIEWS 40 Kat Gang

Warren Wolf 41 Lapis Luna

Tammy McCann

FESTIVAL REVIEW 43 Vision Festival by Ken WeissWarren Wolf

CD REVIEWS 52 Hot New CDs

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JI: What was the driving motivation behind your creation of the Jazz Cultural Theatre? BH: I had some people talk me into it. I had a little bit of money and I was thinking I would buy a small brownstone uptown. There was a lady on 132nd Street that was trying to get rid of her place. Some other people we saying, “Barry, why don’t we get a place in midtown?” I said, “Well, we’ll look at the place and we’ll see.” We went to it. We had a meeting and they talked me into it. “Okay, let’s try it.” It began in 1982 and lasted for five years. The whole idea for this teaching thing started a long time ago. I was teaching for [trumpet player] Joe Newman’s Jazz Interactions in the 1970s. One time, at the end of the schedule when I was teaching, I was sup-posed to be there at 4:00 PM and got involved in things and realized that I was late. And, I said, “Oh my.” I got a cab and it was about 6:30 and I thought, “Nobody’s gonna be there now.” But, when I got there, everybody was still waiting on me. So I said, “Well, this was supposed to be the last class, but we’re going to keep this going, because you waited. I’m going to find a place, and all you have to do is bring enough money to pay the rent.” That’s how the class started. We had musicians who would come and play on the weekend. It was hard though. I never really made enough money. I was blessed though. There was a lady who was my benefactress. I also had a friend I met at Bradley’s. When I decided to do these concerts with strings, I kept

talking about it. He said, “All you do is talk about it. When are you going to do something?” When I went back there next time, I told him I was going to do my concert with strings. He handed me a $1,500 check. He was my other helper. JI: Talk about how you structured the perform-ance and teaching at the Jazz Cultural Center. BH: You sort of goof at things when you start out. I goofed at the beginning. I wanted to have

music every weekend. When I had the gig, I was bringing my money to pay the musicians. The first class I had there had 90 people in the class. I thought, “This is nice. Maybe if I do three days of this, that’ll be nice.” That was the dumbest thing I ever did. I should have done one class with 90 people. I spread it out and started getting 30 people at each class because they came when they wanted to. Rent was $3,000 a month and then the landlord wanted to raise the rent without doing any repairs. I ended up with a real mess on my hands. But we tried. Frank Foster taught har-mony. Vernell Fournier taught drums. I taught the singers and the piano play-ers and the horn players. Jaki Byard’s Big Band played there every month. I had Walter Bishop play there, Walter Davis, Sun Ra … quite a few people played there. I had jam sessions there and I gave them a list of songs that they needed to learn—no two chord songs in here … not when

I’m paying the rent. Dealing with people is diffi-cult. One of the hardest things to do is to get people to represent you in your manner, not in their manner. You want people to come back to your place, your business. You want people to feel wonderful so they’ll come back. JI: Could you talk about the environment that helped you nurture the music when you were

growing up in Detroit? BH: Young people ask me all the time, “What did you do in Detroit?” I think we had a bunch of older musicians who were great. We had an alto player named Cokey. We thought he was the greatest thing in the world. We had a trumpet player name Cleophus Curtis and a trumpet player named Clair Rockamore. If Miles [Davis] was around, you’d have to ask him, “Who was Clair Rockamore?” He’d tell you. He mentioned him in his book. I’m not too good at remember-ing everything. I can remember going to see “Bird” in ballrooms, and I can remember sitting in with Charlie Parker. Those were some of the greatest moments of my life. I can remember going to the Forest Club and hearing Charlie Parker with Strings. I can remember that feeling. [pause] That’s why it’s hard to go into clubs—because I want you to give me that feeling … that feeling I felt when I heard him play. I would love to be able to give that feeling to people myself—to make them feel what I felt when Charlie Parker played. See, we had so many good musicians. I was a scrawny kid. At school I couldn’t even do one chin-up. There wasn’t no baseball for me ... There wasn’t no football, no basketball. Everybody knew where to find me—at my house, on the piano. When I was living on Russell Street on the East side [of Detroit], I went to see Roland Hanna. He’d heard I had been singing. He sent back a nasty message: “You better get yourself a day job.” [laughs] So I

Feature Barry Harris Interview By Eric Nemeyer

Visit www.BarryHarris.com

“I can remember going to the Forest Club and hearing Charlie Parker with Strings. I can remember

that feeling. [pause] That’s why it’s hard to go into clubs—because I want you to give me that feeling … that feeling I felt when I heard him play. I would love

to be able to give that feeling to people myself - to make them feel what I felt when Charlie Parker played.”

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found out that he had a record date through Eddie Locke. I said, “I’ll fix him.” So I went and busted into his date and I said, “Okay man, I heard you need a singer.” He just fell on the floor and roared with laughter. Then he [Roland Hanna] said, “Me and Sonny Redd used to climb those stairs on Russell Street, just to get up there to learn about chords and stuff from you. Sir Roland Hanna was part of me. I might be what you would call a part of Tommy Flanagan and Will Davis and Abe Woodley. But Sonny Redd and Roland Hanna, Donald Byrd, Doug Watkins … Paul Chambers learned to play up in my house. He couldn't even play the bass at all. He had gotten a bass and couldn't play it at all. He even came on the gig with his bass trying to play—didn't know a note, hardly. But he learned to play at my house. Later on I had a band with Yusef Lateef. Then I had developed this system of teaching. I taught a lot of cats—even the Mo-town cats. Their piano player’s name was Johnny Griffith — and the first stuff he learned was from me. The bass player who everybody loved, James Jamerson — he learned at my house. They were all jazz musicians. What we did, which was bad probably — which is maybe why Detroit is messed up — a whole bunch of us left at the same time and came to New York, and we all made it. Frank Gant. Sonny Redd. Hugh Lawson. Yusef Lateef. Doug Watkins. Paul Chambers—he might have been here a little bit before. Then there were musicians who stayed there, and they ended up with Motown. I don’t know about the beginning but I think Motown started in maybe the late 1950s. I never knew

about Motown. Even when I went back to De-troit after being with Max [Roach] …. That band was Max Roach, Sonny Rollins, Donald Byrd, George Morrow and me. That band never re-corded. Somebody must have something on us.

We were together maybe three or four months. JI: What kinds of discussions did you have with Max when you were in that band? Did he offer any suggestions? BH: Not really. Max was still upset about [the death of] Clifford Brown and Richie Powell. That really got him. It was a nice gig, but he wasn’t over that. When I went back to Detroit

though I hadn’t heard about Motown—but Berry Gordy and I went to school together. I was out in California at some point playing outside at a museum, and he came to the concert, and he came to one of my big concerts in New York too, and stayed for the whole concert. At one point, I played a concert by myself and later he said to me, “You really touched my heart. What can I do for you?” I just said, “Oh man.” You know, one doesn't know what to say when some-one says something like that. I wouldn't even know what to say. He sends me a card at Christ-mas. Most of the musicians on those records that made that sound are jazz musicians.

JI: When you first came to New York in the 1950s, what kinds of challenges and opportuni-ties did you experience? BH: Since I didn't stay with Max’s band too

long, I went back to Detroit. When I really came to New York and stayed was 1960. We had a lot of record dates. I was recording with everybody. The record companies found us and took advan-tage of us — Cedar Walton, Herbie Hancock, Lee Morgan, Hank Mobley … we all recorded. Since I was recording with all these people on Blue Note, I called Alfred Lion at Blue Note and said, “I recorded for you with Hank Mobley and Lee Morgan, why don’t you give me a date?” He

said, “No, no, no, no.” I said, “Why?” He said, “You play too beautiful.” I said, “Thank you man.” I made it. I recorded. I got little gigs. I went out of town with people. I went to Europe occasionally. So I made it, and that’s when I stayed around New York. It was around 1960. JI: Could you talk about your association with Thad Jones with whom you recorded on Blue Note in the 1950s? BH: Well that started when he came back to Detroit. He was playing at the Bluebird with Billy Mitchell. The Bluebird was our joint. I was too young to get in. Phil Hill was the piano player, and the band stand was in the window. So, I’d knock on the window. He’d see me and he’d nod. Then when the tune stopped, he’d get off the piano, and I’d run in and jump up on the piano and play a tune and go on back outside afterwards, because I was too young. I actually celebrated my 21st birthday in The Bluebird—to make sure that they knew I was 21 years old. I played there with Yusef Lateef. That’s when I came up with all this practice stuff—real stuff to practice, to learn how to improvise by yourself. It’s almost like I’m the throwback to the figured bass, like what the Europeans used to do. JI: Well, Bach was really an improviser. BH: Oh sure. But what Bach did was that he started teaching and he started writing a lot of stuff down. His contemporaries didn't dig that too much because they were improvisers. But what ended up happening was when improvisa-tion stopped in Europe, it started in the USA. We’re really the extension of Bach and Chopin and all of them. The big difference is that we have to do this in public. We can’t stop and say, “That was wrong. Let’s stop and do it over.” You have to continue playing. JI: Did Thad arrive with the charts on the spot? BH: I came to New York to record with him. There were charts. What I was really good at was getting a chart down right away — the

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Barry Harris

“We learn from looking over someone’s shoulder. I learned from looking over Tommy Flanagan’s

shoulder, and Will Davis’ shoulder — trying to see how they play, looking at the chords they’re using.”


chords and stuff — so I didn't have to look at the music. That’s what it was like with Lee Morgan, with The Side-winder, and all that stuff. With “Sidewinder”, I came into the studio, somebody gave me some music, I made up the intro and that was it. JI: Where were you doing your practicing? BH: Riverside Records had the top floor of a three story building that is still on 46th Street between 8th and 9th Avenue. I had a key to that building. There was a Greek man with a Greek restaurant that made sure that I ate prop-erly. He’d fix me breakfast and dinner. I’d go up in that room after breakfast and then the next thing is I’d look up and it was dark. You’d have to ask Joe Zawinul or Harold Mabern. They all knew where to find me. JI: So you spent most of the day practicing at the River-side Records company offices. BH: They had a little spinet piano. It wasn’t bad. At some point they brought in this baby grand piano. It sounded like hell. I wouldn't even go and touch it. After a few weeks or months, I decided I’d touch this piano and see what’s happening. I went over there, and as I played that piano, it got more and more in tune. You wouldn't have believed it. That piano began to sound so good to me. I wondered how could I sit here and play that spinet and not come over here and check out this grand and really work with it. This grand began to sound better and better and better. I’m not lying to you. The piano is funny. It needs attention. JI: Can you discuss your work with Cannonball Adderley in the early 1960s when you recorded the album, Them Dirty Blues? BH: It was nice. That’s when I made my recording Live At The Jazz Workshop album in San Francisco, with Louis Hayes and Sam Jones. Sam Jones was very special for me. He was a special bass player. He was a bass players not so much a soloist, but he could solo. He played the bass with you, not against you. A lot of bass players play against you nowadays — because they’ve got their own little thing, and they’ve got to play up high on the bass. JI: How do you address that and get everyone to work together and interact? BH: It’s hard. What we do is very hard. If we were all solo people, that would be different. But we play with other people and then you’ve got to think, when you have five people on the stage, that’s five heartbeats. Heartbeats are not the same. That’s five breathing and there’s no perfect breathing where we all breathe the same. So there needs to be a compromise from every individual. That’s how we get along. JI: Talk about working with Johnny Griffin, with whom you recorded Kerry Dancers back in the 1960s. BH: That was beautiful. The last thing I did with Johnny was in Japan when we did a tour together. I think it was Johnny Griffin and Billy Harper, two tenor players. They each played separately. Then at the end they played to-gether. We played opposite Mel Torme and a group led by trumpeter Shorty Rogers. JI: What kind of dialogues did you have with Orrin Keep-

Jazz Inside Magazine 7


news as your association developed? BH: He was the best thing that happened for me in New York. He was the one person I could go to and say I need a little bit of money—and he always gave me something. We made record dates, but we didn’t play all that much around New York. The records go out and then you start getting gigs in different places. I don’t think he had too much to say during the recording. He let you go ahead and do it. JI: What kind of preparation did you do for the recording sessions you led for the albums Lumi-nescence and Bull’s Eye in the late 1960s for Prestige? BH: I had arrangements for Luminescence. We played “My Ideal” and stuff like that. We had a rehearsal and then we went in and made the record.

JI: Could you talk about the tenor sax players you recorded with in the 60s and 70s, such as Hank Mobley, Dexter Gordon and Sonny Stitt? BH: My most enjoyable time was with Coleman Hawkins, during the second half of the 1960s. He’s the one I worked with diligently. Working with him helped me tremendously. You see,

when you work with somebody older like that … One day he called “All The Things You Are.” I said, “Oh boy.” You always think of Charlie Parker when you think of “All The Things You Are.” I’m really a bebop kind of person. To hear Coleman Hawkins play that I thought, Bird did-n't play all this stuff. Fats Navarro didn't play it all. Dizzy didn't play it all. Bird didn't play it all.

None of them played it all. This stuff is too big for any one of them to play it all. JI: Could you talk about the kinds of elements that an accompanist needs to embody in his or her thinking and playing? BH: On the piano, you should be able to play

rhythmically. There are small things and big things. Small things are the best because they’re invertible. Some people playing now are playing these chords way up on the piano. Some fool has told young piano players that if you play in the low register, you’ll interfere with the bass player. There’s not a bass player in the world qualified to have the bass to himself. There are very few that have enough theory background to have the bass to themselves. Bass players used to stand to your left and watch your left hand to play. Now everybody plays way up high on the piano. You shouldn't be up so high over a singer or a horn player. If you listen to Massey Hall, or listen to some of the small group stuff Bud Pow-ell plays behind Bird and Diz, that’s how to play the piano behind people. You listen to it and you see there ain’t nothing way up high—and it’s rhythmic. JI: In English, we learn the letters, the words and how to create sentences and so forth—and conversations are improvised based on an as-similation of all of the elements of the language to create a conversation on a particular topic. In jazz, it’s similar. We’re simply using a different language. BH: It’s very similar. JI: Only after learning the language do we then possess the tools that carry the energy to express the message. It’s difficult to ascribe the letter and words or the notes in the respective lan-guages—English and music—as the message itself. And developing the basics takes time. Interestingly, in an interview with Cecil Bridge-water that I published in one of the issues of Jazz Improv Magazine a few years ago, he com-mented that students come to him seeking their last lesson first. BH: That’s really true. What happens is that most teachers teach from their last thing instead of from where they came. Even though exactly what he said is true, everyone thinks that things are going to develop overnight. It’s not going to be overnight. We have to teach from where we came. Now, there are all these tenor players putting out books with all these patterns and stuff in there. Look here man. They didn't learn to play like that. If you think I learned to play like that …. like they’re talking about Mixolydian and Lydian …. We learn from look-ing over someone’s shoulder. I learned from

(Continued on page 10)

“Monk knew something special. He didn’t practice practicing. He practiced playing.

returns to

540 Park Avenue @ 61st Street • New York, NYFor Reservations: 212-339-4095FeinsteinsAtTheRegency.com

Jerry Costanzo

Can’t We Be Friends?

BringingThe American Songbook

Into The 21st Century

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Jerry Costanzo

Performances will feature jazz vocalist Jerry Costanzo with his trio (Tedd Firth; piano, Jennifer Vincent; bass, Jimmy Madison; drums) with special guest artists each month.

Sept 21: Guitarist Roni Ben Hur, Joins Jerry Costanzo and his trio. A virtuoso guitarist with impeccable swing has been building an increasingly stellar reputation for himself since he first migrated from his native Israel to New York City, back in 1985. A passionate leader, player, composer-arranger, published author and respected educator, Roni now stands as one of the elite players in modern jazz. www.ronibenhur.com

Oct 19: Guitarist Joe Cohn, Joins Jerry and his trio.

Nov 16: Vibraphonist/recording artist Mark Sherman, joins Jerry and his trio.

Dec 2: Saxophonist Andy Farber & His 8-piece Swing Mavens. Jerry will be performing Andy’s original swinging arrangements of classic standards from his first CD “Destination Moon” and more.

Jan 18: Tenor Saxophonist Jerry Weldon joins Jerry and his trio.

Feb 15: Saxophonist/Clarinetist, Dan Block joins Jerry and his trio.

Mar 21: Jerry Costanzo brings back the band from his latest CD “Can’t We Be Friends?”

New CD:

Can’t We Be Friend’s?Features

Tedd Firth, pianoMark Sherman, vibes

Joe Cohn, guitarBen Wolfe, bass

Jimmy Madison, drumsAndy Farber, sax & flute

Mike Carubia, trumpet

“In another time and place, Jerry Costanzo wouldn’t be interpreting the Great American Songbook. It’s likely he’d be

conceiving it.”—Chuck Taylor, American music journalist*

Behind Costanzo’s confident yet down-to-earth singing is a clever, witty intonation that showcases his love of the music. . .

Costanzo and his fabulous players bring the Jazz genre to life with a style that should be savored and enjoyed like fine wine.”

—Lily Emeralde and Emma Dyllan, Phosphorescence Magazine

“Costanzo is not a clone of Cole, Sinatra or any of those icons. His voice is smooth but has a slight gravelly quality. As all great

singers do, he tells a story. . . Costanzo wows.”—Walter Kolosky, Jazz.com

For more information and complete schedule visit:

www.JerryCostanzo.com


looking over Tommy Flanagan’s shoulder, and Will Davis’ shoulder — trying to see how they play, looking at the chords they’re using. We learned that way. You can’t learn this in school. Some people think you can learn this in school. It would have to be a very special school to be able to teach this stuff. I found two over in Europe. There’s a piano teacher over there named Franz Elsen. He’s Dutch, but he’s now living in Verona—because the Dutch don’t know how to treat him. Then there’s Vince Benedetti. He’s an American, but he’s been living in Europe for years—and he is a teacher. These two teachers are the best teachers I know. It is be-cause of their knowledge and their abilities to motivate people and because of who they played with. Franz Elsen played with Ben Webster. I never played with Ben Webster. These aren’t just run of the mill people. These are people who’ve been in the music a long time—just as long as me. And, you have to surround yourself with these kinds of people. When I go to Hol-land, I’m surrounded by 15 piano players—and they all can play. They put me to the test. JI: Some teachers are perhaps not thinking be-yond themselves. What is obvious to someone who is advanced along the path of their chosen area of interest or expertise, is not necessarily apparent to the student. Questions that students ask can often provide teachers and those more advanced along the path, with reminders about what to work on or what they’ve taken for granted. BH: That is exactly right. JI: Could you discuss some of the piano players who have made a significant impact on you. BH: Al Haig and so many cats — mostly Detroit cats. Boo Boo Turner. We had piano player named Boo Boo Turner in Detroit. He never had a lesson. Abe Woodley played piano and vibra-phone. Will Davis, Tommy Flanagan. JI: What have you discovered about human nature? BH: If you can touch this certain spot in some-one, they can really learn from you. But you’ve got to be able to touch the spot. It’s hard too—because the spot varies with each person. There was a teacher named Abby Whiteside about 70 years ago. She didn't believe that you play the piano with your fingers. She believed that you had to play the piano with your body. I try to tell people about this. I watch piano players playing and I feel so sorry for them — because they’re real fingery, and they’re going to end up with carpal tunnel, or some of the funny stuff that happens. You have to play the piano right. You have to play with your upper arms which con-nect to the body. She quotes jazz musicians in her book, which is called Indispensables of Pi-ano Playing. She got a whole lot from jazz musi-cians—so she must have been watching Art Tatum, Teddy Wilson—those kind of people.

I’m trying to change and teach a different way because I decided that these horn players and piano players don’t know about movement. They know about chords but they don’t know about to move from one place to another. You’ll hear them say, “He moved from E-flat Major to D half-diminished to G seven to minor.” Most of the standards were written by European cats that came over here and they are really correct when it comes to movement. I’ve been going over “Stella By Starlight,” and I could tell a cat ex-actly how you go from one end to the other, and it’s a circle. It connects all the way up. It con-nects completely. JI: Could you talk about Hank Jones who is also from Detroit and who was a few years older than you? BH: Hank left Detroit in 1944 or something like that. So, I don’t know Hank from Detroit. I just know Hank Jones from the records that I was listening to at that time—because I was just in high school. I knew about Hank Jones’ family in Pontiac, though. It’s so funny, I think about it and I say, “Oh my goodness.” We hung out to-gether when we did that 100 piano—100 Golden Fingers event. We traveled over to Japan and even Korea. The last concert we did was sold out in Seoul, Korea. They had to pipe the music over speakers outside. It was ten piano players. The two main ones were Hank and John Lewis– along with Junior Mance, Duke Jordan, Harold Mabern, Toshiko. Each of us ended up being matched with another piano player. I was paired with Kenny Barron mostly. That’s why we came back here and we ended up making that record. [Confirmation, recorded at the Riverside Arts Festival, 1991, and released on Candid Records] JI: How about your association with Thelonious Monk? BH: Let me tell you about Monk for a minute. Monk knew something special. He didn't prac-tice practicing. He practiced playing. There are tapes of him playing one song for 60 minutes. Now you sit down and try to play a song for 60 minutes. I can’t do it to save my life. Take “Lulu’s Back In Town.” Monk practiced that tune upside down. So, when he went out to play, he was ready to play—because he was playing all the time. See? So you’ve got to practice play-ing. I have to practice playing. We don’t work enough. That guy playing that weekend gig—maybe for three or four nights a week—he’ll come closer to finding out who he is than we will. You see? We aren’t given a chance to find out who we are. We don’t get enough gigs to find out who we are. We need to work more often. So we set up...Monk and I played “My Ideal” together. Oh man. I’d never gone through an experience like that. He’d play a chorus. I’d play a chorus. He’d come right back and play another chorus. We did this for a long time. Then he played some run. I tried to cop a few of his runs. It was very special.


LOCAL & REGIONAL ASCAP (American Society of Composers, Authors, & Publishers) Frances Richard One Lincoln Plaza New York, NY 10023 (212) 621-6327 [email protected] www.ascap.com Brooklyn-Queens Conservatory of Music Pete Robbins 58 7th Avenue Brooklyn, NY 11217 (718) 622-3300 [email protected] www.bqcm.org

City College of New York - Jazz Program Scott Reeves Music Department 138th St. & Covent Avenue New York, NY 10031 [email protected] www.ccny.cuny.edu Bachelor Degrees: B.FA in Jazz, Classical, Music Technology, or Jazz Education; B.A. in Music or Music Education Faculty: Includes Daniel Carillo, Alison Deane, David Del Tredici, Ray Gallon, Mi-chael Holober, Stephen Jablonsky, Chadwick Jenkins, Paul Kozel, John Pati-tucci

Columbia University Center for Jazz Studies John F. Szwed 602 Philosophy Hall MC 4927 1150 Amsterdam Ave New York NY 10027 [email protected] 212-851-9270 www.jazz.columbia.edu Faculty:, George Lewis, Robert G. O’Meally, John Szwed, Christopher Washburne : CUNY York 94-20 Guy R Brewer Blvd Jamaica NY 11451 718-262-2000 www.york.cuny.edu

C.W. Post Campus of Long Island University C.W. Post University T.K. Blue, Director of Jazz Studies Department of Music 720 Northern Boulevard Brookville, NY 11548-1300 (516) 299-2474 [email protected] www.liu.edu/~svpa/music Five Towns College Jerry Cohen 305 N. Service Road Dix Hills, NY 11746-6055 631-656-2121, [email protected]

SOURCEBOOK AND PROGRAM GUIDE

To Advertise CALL: 215-887-8880 12 August 2011 Jazz Inside Magazine www.JazzInsideMagazine.com

(Directory Continued on page 21)

Dr. Billy Taylor 1921-2010 Champion of Jazz Education Founder of Jazzmobile Pianist, Composer, Arranger Photo by Ken Weiss

What’s Really Going On In Jazz Education? Including Interviews with Leading Educators


RH: The Jazz Music and Contemporary Studies involves a study of the creative process = how to get into a creative flow and be at your best, in the jazz context. These concepts are applicable to business too. A lot of business majors and athletes take some of these courses at University of Michigan as well. We also have a jazz educa-tion course, where you can get that degree and teach high school. JI: How do you help students bridge the gap from the academic environment to the business world. RH: We let students know that you need to put your time in outside of school and play. Just getting A’s in certain courses will help you, but not help you become a better player. I tell stu-dents that in addition to working on their school work, they need to be working on their network-ing. It’s important reach out to the music com-munity—to develop your “hustle” skills, while you’re in school. It’s important to learn how to organize rehearsals and function with other mu-sicians, learn how to be cooperative and suppor-tive in musical situations, and not be a drag. Ann Arbor has a really thriving music scene—venues and festivals, and we’re 35 minutes from Detroit. I make sure that my bass students get involved, and learn what the requirements are for succeed-ing—doubling on electric bass, how to make people feel good, since we’re accompanists, being on time, how to complement people. It’s a good idea to ask yourself, “am I being a drag?” It’s just important to stay clear and be a positive force—in any situation, and specifically on the bandstand. I also conduct two small groups—and I try to get students to conduct themselves in a professional manner. Let people know if you are going to be late or cannot make a perform-ance. When you have those skills to go along with your musical skills, they are going to help you acquire a gig and keep a gig. JI: What are some of ideas that you imple-mented when you joined the faculty of Univer-sity of Michigan. RH: One of the reasons that I got hired was because they wanted somebody who was work-ing and touring—to provide that kind of a link for students to someone who is working on an international level. For me, I had to learn to de-velop as a teacher—to respect that craft. I had really great teachers growing up and in college with David Baker at the University of Indiana—who I think is the best out there in terms of jazz educators. I had to get my philosophy together in terms of how I wanted to teach—and what I wanted someone to get from me in a course or

their private studies. It does take a while to develop these skills and I have complete respect for the teaching craft. It’s important to learn how to communicate to a student. When their stagnating and not growing or at the rate that you would like them to, or that you think that they should be, you have to find a way to get them past that. You learn lots of techniques. JI: What are some of the chal-lenges that you’ve experienced in your role as an educator? RH: Most of the good players that I’ve taught have also been good guys as well. Any students that I have taught who were problems, were just not applying themselves or taking seriously what I said. Some students don’t understand the level of work that is required. If they’ve been the hot guy in their high school jazz band, and things came easy to them, when they get to college, they then find themselves in college in an envi-ronment where everyone is like them, where everyone was the star at their respective schools. So, what makes the difference then is how much work you’re going to put into things, that previ-ously just came naturally and easy. The work ethic and how bad you want it are factors that have to be there. Some students can’t adjust to a college music setting. It suddenly becomes a little bit of a drag—they have to learn something for class, where most did not have any academic goals when they started out in music. They just played. Here, you have to responsible for all the tunes on your freshman and sophomore jury list, which is about 50 songs that you have to know. You can’t just learn tunes that you like from recordings, you have to be responsible for as-signments, meeting deadlines, and handle the scholastic aspects of playing music. It’s not a drag for the really good players. But for some, the attitude is you’re not making it fn, so I don’t want to do this anymore. JI: What were some of the key ideas that you picked up from your studies with David Baker? RH: One of the things that I learned from David was a certain analytical way of thinking—how to take what you do as a musician and take it one step further. This didn't have much to do with what kind of musician you are. For example, I might be required to play one thing or another for my music lesson. But, how many other ways

can I do something or how many other ways can I think of to do something. How can I take it one step further? How can I really apply this to what I’m doing. You learn a phrase starting on this note, and what would it sound like if your played it a third higher or a fifth higher, or a beat ahead or a beat behind. You want to take all the things that you can do and explore them. He has written a lot of method books, and I used them, and I got to see how he formulated ideas and exercises. I played in ensembles he led and took private lessons with him—and he would give you so much material in these lessons. He’s a musician — so he has away of making it real. JI: Could you give a sketch about the program at University of Michigan? RH: There are about 50-60 students in the jazz program. We have two big bands, but our smal l group combo performance program is more of the focus. We have experimented with doing things many different ways. We are developing groups with dedicated repertoires—a Horace Silver group, am Art Blakey group. During the past two years we’ve been focusing on having everybody composing originals. Geri Allen had been leading the combos, and now I’m doing it—and each person has their own approach. Most of the students come from the Midwest, but we also have groups of students from Los Angeles and Chicago.

JAZZ EDUCATION SOURCEBOOKJAZZ EDUCATION SOURCEBOOK Robert Hurst University of Michigan (Part 1) By Eric Nemeyer

Part Two of this interview with Robert Hurst contin-ues in the following issue with Jazz Inside’s Jazz Education Sourcebook, Part 2


JI: What are some of the distinguishing char-acteristics of your school’s jazz program? SR: City College of New York is the flagship of the City University system, with roots go-ing back to the 1800’s and a historic campus on the upper west side of Manhattan. As a public university, tuition is extremely low in relationship to private universities and it has a strong academic curriculum. We are the only public university in New York City to offer both undergraduate (BFA) and masters (MA) degrees in jazz studies. Although City College has around 11,000 students, the music depart-ment is relatively small (around 300 majors - of which around half are instrumental or vocal jazz majors), so the faculty gets to know all of the students very well. This sort of ‘hands-on’ approach to teaching leads to a very nurturing environment, which can be a healthy respite from the crazy, competitive New York City environment. All of our full-time jazz faculty (John Patitucci, Dan Carillo, Mike Holober, Suzanne Pittson, Ray Gallon, Scott Reeves) are working professionals with a high com-mitment to teaching and the growth of their students. Being in New York, we also draw on some of the great players who live in metro New York City, and they serve as our private instructors and adjunct faculty. The student body is also very diverse, with many states in

the U.S., France, Italy, Germany, Switzerland, Argentina, Columbia, Brazil, Chile, Mexico, Israel, Japan, Korea and China all represented. This provides for a very enriching environ-ment and unique opportunities for cross-cultural cooperation. JI: At least two, sometimes conflicting mo-tives drive students’ educational pursuits. One driving force is the purity of purpose of learning, for its own sake, as much as possible to develop one’s knowledge and skills. A sec-ond driver is the desire to have that education

or degree lead directly to a job or financial gain. Could you com-ment? JI: Most students — and faculty — are primarily driven by their love of the music and their desire to know how to create and participate in this mysterious, compelling art form. My own motivations during my student days are probably typical of most students. As a kid, I heard a Count Basie record and was imme-diately drawn into the magic of swing, blues and improvisation. By the time I heard Miles Davis’ “E.S.P.” I was hooked. So students embark on a life-long learning ex-perience which usually (but not always) involves higher education. But on a realistic level, a diploma in music (or for that matter Art History, English literature, Anthropology and many other subjects), does not guarantee you a job when you graduate. Of course, there is the fact that a person with a diploma of any kind will likely make more money over their lifetime than someone who does not, but the real benefit of a degree is the knowledge and higher cognitive skills ac-quired, as well as preparation for musical em-ployment. Many of our jazz courses at City

College are geared towards making our stu-dents employable, including working on their knowledge of jazz standards and sight-reading abilities. And the university as a whole, not being a conservatory, requires that jazz musi-cians also learn how to write coherent sen-tences, be able to balance their check book, speak a foreign language and know something about the geography and political institutions of the world.

JI: How do you help students bridge the gap between the academic environment and the real world where competition, earning a living and other things impact artistic pursuits? SR: Frankly, the amount of work for jazz musicians has decreased over the years. Public music programs have been slashed, resulting in a greater lack of public awareness and ap-preciation for jazz. Most people are clueless about jazz. Studio work has moved from be-ing reliant on live musicians to that of synth-generated or licensed recordings. Even wed-ding bands are being replaced by D.J.’s A few musicians will be able to make a living play-ing jazz, but the majority will cobble together a lifestyle of jazz gigs, commercial gigs, and teaching. But if your love of music is strong enough, if you work hard enough and if you find your own unique musical vision, you will find a way to make it in this world. JI: What kinds of guidance does your pro-gram offer to ensure that students are positioned with the business skills to em-power themselves? SR: For students who feel they might have interest in working with students aged 7 - 17, I recommend they also get certified to teach in the public schools. City College offers a pro-gram where they can major in jazz, but also take a 23 credit program which leads to certi-


JAZZ EDUCATION SOURCEBOOK

Scott Reeves City College of New York By Joe Patitucci

“Most people are clueless about jazz ... A few musicians

will be able to make a living playing jazz … But if your love of music is strong enough, if you work hard enough and if

you find your own unique musical vision, you will find a way to make it in this world.”

www.cuny.edu


fication. Students who want to teach at the college level should plan on earning their masters and possibility a doctorate, and to distinguish themselves in their field through their artistic achievements. All of the faculty serve in an advisory capacity to the students and can help them through these difficult life decisions. The toughest point in a young mu-sicians life is “now that I’m done with school - what’s next?” JI: What are some of the biggest challenges current students are and will be facing and how is your program preparing them to over-come those to succeed? SR: The economic downturn has affected everyone, but ironically our enrollment is up due to our relatively low tuition. But even state schools are feeling the impact with rising tuitions across the board. And New York City is not a cheap place to live. City College has nice dorms, but often our students, once they get used to the New York environment, find they can share apartments in the area to cut costs. We also try to support our best students with scholarships, both through the university-wide Kaye Scholars program and music de-partment sponsored awards. However, given the paucity of state money, there are not as many scholarships available as we would like. To this end, many of our music faculty have created their own scholarships out of their pockets to help our students. JI: Could you share one or more things that you’ve learned from your students that has made an impact on you? SR: Being an educator and a musician is a good way never to grow old. There is always something new to learn and students are al-ways challenging you. When I first moved to New York to teach at City College, one of our graduate students - Pedro Giraudo, a wonder-ful bassist/composer who now tours with his own band, invited me to play some of his compositions. I can best describe them as Argentinian jazz with a tango flavor, often in odd-meters. I was pretty comfortable with 4/4 jazz, but playing in 7 sent me back to the woodshed. All of our MA students and several of our undergrads play at a professional level, with an energy and intensity that makes me have to dig deep to match. A few of our stu-dents, Paolo Orlandi, Nathaniel Gao, Aidan O’Donnell and Seth Carper, have been in our MA program and subsequently joined us as adjunct faculty. Many others are now doing gigs around New York or have gone back to Japan or Israel where they are enjoying solid careers. I always am honored when I occa-

sionally get a chance to play with them on one of their own projects. JI: Could you share some ideas that embody the kind of character, integrity and ethics you envision for your students. JI: One thing I really love about our City College students — and I’m sure that my fac-ulty colleagues would agree with me on this — is that they are wonderful people. We don’t have very many inflated, delusional egos. Although we do get some students right out of high school — especially from our association with the outstanding LaGuardia High School of Music and Art and Performing Arts — the majority of our students are older. Some al-ready have a degree from universities in their home county and are coming to New York to expand their skills and be part of the jazz scene and some are pros who have tired of road gigs and want to shore up their academic credentials. They bring a maturity and non-pretentiousness to the school that I find very refreshing. Many of them have subsequently become my close friends. JI: Tell us about your own activities. SR: Having taught for many years at universi-ties in other parts of the country, I didn’t join the City College faculty and move to New York until I was 49. So I’ve been doing in my middle-age what most musicians do in their 20’s. You think you can play, but New York is a whole ‘nuther world. There are so many incredible musicians here on every instrument and so many great writers, it is inspiring and humbling at the same time. I’ve been lucky to be able to sit next to great players and learn from them. Performing with my colleagues at City College is always a learning experience and I remember quaking in my shoes playing with Ron Carter, who preceded John Patitucci on our faculty. I play and write for the Dave Liebman Big Band and Bill Mobley’s big band at Smoke, which is my ‘regular’ gig. I’ve also been lucky to sub with the Chico O’Farrill Afro-Cuban Orchestra and the Van-guard Orchestra. I have three groups of my own - a quintet with the incredible tenor saxo-phonist Rich Perry, a 4 trombone/3 rhythm band “Manhattan Bones,” and I recently formed my own big band. Every time I play with Rich Perry, I get a lesson in how to use space and develop a solo; hanging with John Patitucci has opened my eyes to the depth of his time concepts; and my compositional stud-ies with Jim McNeely, Mike Abene, Manny Albam and Mike Holober have dramatically changed the way I compose and score for big band. I just hope I have a few more good years ahead because there still is so much to

learn. JI: How do you find that your students and teaching activities impact your own artistry? SR: To me, teaching, playing and writing all feed each other. I got into teaching because every time I learned something new, particu-larly in my studies with David Baker and Kenny Werner, I wanted to tell other people all about it. So teaching grew out of my desire to share my excitement about what I’m learn-ing. If I’m not out there working on my mu-sic, I wouldn’t have anything to talk about. They are inseparable. JI: Tell us about the books on improvisation that you have written - the inspiration, and how those developed from concept to comple-tion. SR: Prentice Hall publishes two of my im-provisation books, “Creative Jazz Improvisa-tion” and “Creative Beginnings.” “Creative Jazz Improvisation” is now in its 4th edition and has become something of a staple in the college text book market. So it has opened a lot of doors for me in terms of teaching jobs. But I didn’t set out to write a book for its own sake. When I first started teaching at Western Washington University in 1976 I had to exam-ine how I learned to improvise (because I had distinct memories of knowing absolutely nothing) and how to organize those materials for my students. Gradually the handouts I wrote for my students evolved into a book. I think everyone finds different learning paths and what works for one person might not be as viable for another. If there is anything unique about my books, it is their multi-level approach, combining jazz theory, exercises in developing jazz vocabulary, transcribed solos and coordinating these materials with standard jazz repertoire. I’m also obsessively organ-ized, so the book has a very clear, concise flow. But frankly, right now teaching improvi-sation is no longer a priority. My colleague, Dan Carillo, is a wonderful jazz harmony and improvisation teacher and he takes care of that subject at City College. My duties at City College are more focused on teaching jazz history, jazz repertoire and advising.

(Continued from page 15)


“Any man who would give up a little liberty for a little

security will lose both and deserves neither.”

- Thomas Jefferson


JI: What are the distinguishing characteristics of the Berklee Global Jazz Institute? MP: Danilo Perez is the Artistic Director and the program reflects his artistic idea of creating mu-sic based on true improvisation and creativity. A lot of emphasis is place on music with other forms of art—literature, paintings. We have built a program that has interdisciplinary characteris-tics. As a number of artists in residence that Danilo has chosen reflect his ideas about music and creativity. There is also a social part. He is very involved in humanitarian activities. He is a goodwill ambassador for Unicef, and has devel-oped his own jazz festival in Panama, helping out poor children. Part of what we do in the Berklee Global Jazz Institute—we have an hon-ors program for the Berklee performance divi-sion. This group of students will get to travel the world and play the best clubs and connect with all these incredible artists. But, at the same time we ask them to give back and participate and be involved in the community. We are trying to create future leaders of the music who also have a very conscious awareness of society. Artists need to be involved in using music for social change. We try to stay away from the old con-cept of the great artist who is completely self-absorbed, self involved, playing on stage and wanting all the attention and it’s all about them. When you create a program like the Berklee Global Jazz Institute, where you are selecting the best jazz musicians to attend, you get all these wonderful best artists to come and teach them, it would be easy for these students to feel ex-tremely arrogant. They are young and very im-pressionable. So it was very important to create this other area where they are reminded about what their social role is as an artist. We are en-tering our second year. What I found out is what a lot of students are looking for. They are not happy about living in a very cut-throat, competi-tive environment where everybody is trying to outplay everyone else. In the Institute there is really an atmosphere of sharing—and all the artists that teach here share a like-minded under-standing of this element. Out of the 4,000 stu-dents at Berklee, we select about 20 students for this interdisciplinary program with a focus on creativity, with a second goal of utilizing music for social change, and the third goal—which is extremely ambitious—is going back to the idea of nature restoration, and utilizing nature as a forum for the restoration of music. We are plan-ning a trip to the jungle in Panama, and putting the students into this environment that is com-

pletely in contact with nature - taking away all the technology and make them feel that connection with nature. That can be ex-tremely inspiring for creativity in music — using nature as a way of being an alterna-tive source of inspiration to create and com-pose music. Those are the three goals of the Berklee Global Jazz Institute. Last year we created 40 concerts. This semester we had 39 residencies. We also put together a Sum-mit for Humanity, where Wayne Shorter stayed as a residence for three days. We did a beautiful tribute concert where we played all of his music. Then he played with the other Berklee Global Jazz faculty—including Danilo [Perez] and John Patitucci, George Garzone, Joe Lovano, Terri Lyne Car-rington, David Gilmore. They played this in-credible concert and then we created other ac-tivities. Then we brought him to the public li-brary. He did a conference about his concept of music and social change. Then we brought him to the Museum of Fine Arts. He picked a movie — a controversial one — which was very crucial for his inspiration in music. So the program is starting to create a lot of interest allover the world—because it is a very unique program. JI: When you mentioned taking the students down to the jungle, I couldn’t help think of Bo-

gart in the movie The African Queen. MP: [laughs] This is something that Danilo has already done—not with the students from Berk-lee yet. There is a video called Junglewood—where they are actually building a center in the jungle of Panama. They bring in students and musicians. If you go to YouTube and put in Jun-glewood, you’ll see a lot of stuff. Danilo went there with a bunch of students. They basically camp in the jungle for three or four days. It’s

really exciting. There are plans to do this with our students pretty soon. I asked Danilo, “Are there snakes there.” He said, “Of course there are, but they don’t bother you. You need to learn how to be in harmony with nature.” Danilo was saying that they were at this camp and they were playing music and the indigenous guides were there pointing out that the snakes were hanging around, all around. .... He said, “There was a snake right there, but he was completely cool because we weren’t invading his space.” I’m a city guy so I’m going to have to prepare for that trip. [laughs] About the distinguishing character-istics of the program are that Danilo has a very strong vision as an artist and what art is, and

what art can do for people. He truly believes this. He is a living example for me of what an artist can do besides creating great music. For me that is a very powerful message. It kind of helps remove a certain stigma. You see this all the time. Students will get to be very good and then all of a sudden they develop an attitude. JI: How do you help students bridge the gap between the academic world and the real world where other factors impact artistic pursuits?


“We try to stay away from the old concept of the great artist who is completely self-absorbed, self

involved, playing on stage, wanting all the attention and it’s all about them. We are trying to create future

leaders of the music who also have a very conscious awareness of society.”


Marco Pignataro Berklee College of Music Berklee World Jazz Institute

By Eric Nemeyer

www.berklee.edu


MP: One of the things that I see that is very powerful, is that the faculty of this program are all artists that the students hear in the first place. These artists come to the school and hang out with the students for two, three, four, five days at a time, and come back on a rotating basis. What I noticed is that because some of these faculty members are not “legitimate” professors, living in an academic environment, they come immedi-ately after having played the night before, for example, at the Village Vanguard or they were in Japan. So when they come to the school, they are not all of a sudden in a different guise, as a professor. They arrive as international artists who are in the middle of doing it. Basically, all they show to students, is what they do and how

they do it, and they present it into digestible portions that the students can understand. The information, the vibe, the values … everything that they’re talking about is exactly about mak-ing a connection from what could be an isolated academic environment to bridge the gap to the real world. The faculty artists are always talking about what is happening now to them and how they deal with it—musically or business-wise or artistically. When you are taught by a teacher who is basically a teacher part-time, while they are really musicians full-time — and not to put down other professors — it is just different. When you come to school after playing at the Village Vanguard the night before, you still ar-rive with that vibe, and you talk at that level. So for me that is what is distinctive with this faculty in the Berklee World Jazz Institute — because they always relate in that way. It’s fantastic to see that anytime they start playing with the stu-dents, they put into it the same level of energy as if it was a live performance. It’s not like, “Oh, now I’m playing with you, students, so now I’m playing down … and I’m in this [school] room and its not ...” No. The moment the music starts, the attitude that they brought to their live per-formance is brought to this situation as well. It’s like they are still playing the concert the night before. I see this everyday and think this is so wonderful—that this is what the student gets. The students see what’s out there and how they do it. The reason this works is because these are already extremely accomplished students. They are not beginners or intermediate students. They don’t need the basics. They already have all the basics. What they need is the esthetic feedback. They are not talking about scales anymore. This is powerful because these students are ready to interact at this level, or perhaps more accurately in some cases, open to it. Maybe they need more years to understand everything that is thrown at

them. JI: What is the audition and entry process like and what kinds of students are you attracting? MP: We get some really incredible players audi-tioning. We’re interested in how they interact and can be part of the community as well. So, we are also interested in a well-rounded perspective and attitude is important. There are some players who are very talented and they have the attitude and think, “Oh yeah, you’re gonna pick me be-cause I’m a motherf*****.” Well, right there, we’re thinking, “Okay, bye.” Of course, at this stage in their development they can still modify their attitude because they’re so young. When

they are surrounded by artists they respect, and who they see have a completely different vibe—they’ll get it soon. The problem is that many times in the jazz world, that kind of [negative] attitude and values are those that the older musi-cians teach to the young guys: “You need to be an asshole.” That is what for me is very sad. JI: What are the challenges that current students are facing and how is the program preparing them to overcome those to succeed? MP: The jazz market is a small market. Jazz is not as popular as it should be for the kind of art that it is, especially in America. That is a hard reality. You put in so much effort, and you’re so serious about this music, and you go out and you realize that there are so few opportunities. To go back to what we were speaking about before, what are the things that are important besides playing and feeling the music and having this attitude about the music? What are those things that musicians lack when they go out in the world? You’re a student and you’re focused on the music, and then you go out and you don’t know anything. And, of course, a semester of [a] Music Business [course] is not enough. So we are working on things where the students create their own opportunities. We create a series of concerts, give them projects, they have to be able to utilize tools. I think that this is an important part of what you give to the students, that is not only just music — but to give them tools for the music business, but in a practical way, not just out of a book. It is important to give them pro-jects and make them aware of all the resources. And, also seeing music as a community, and sharing, opens up the possibilities to be creative where you play, how you play, and what you do as a musician. So maybe it is not just about play-ing, let’s say, at the Village Vanguard. There are

many other things that you can do with this mu-sic — and not just move to New York and try to “make it.” There is an awareness that comes from when you give students all these elements, you can enhance their ways to survive. Think of what it is that has help you or me survive and become successful. At the end, it is how versatile we were able to be in many ways with what we do. We try to get students to implement this understanding. JI: What is it that you’ve learned from your students and your role as an educator that has made an impact on you? MP: One of the things that I noticed—and I make the comparison to myself when I was their age in college … From a positive sense they are much more open. Jazz has become a global art. It is not just one thing, or one tradition. They are exposed to a lot of different elements, and they make them work for jazz—for what they see as today’s jazz. It is really inspiring to see how their minds work. The whole world is open and they are trying to get from every source they can. The downside of this is that you can see them skipping certain things in jazz, which for us were extremely basic. Bebop is not really a strong point of reference, as it was for us, or in the pre-vious generation. That’s okay. But, you can see students skipping it altogether or skipping cer-tain musicians or styles that are really important. This is what’s so great about someone like Danilo. He was trained by Dizzy Gillespie, who is part of an older generation. Danilo has a re-spect and passion for history and tradition that is really, really deep. Danilo really studied the tradition — and he is one of the most creative modern players. So he is able to make the stu-dents aware not to get confused with being mod-ern and detaching yourself from the tradition. On the positive side though, the students are very open and creative—and able to manipulate many different elements and make them part of their language. For me, that is really inspiring. JI: Is there anything you want to add? MP: This program is quite historical. Berklee does not have a Master’s program. But upon observing the activities in our Berklee World Jazz Institute, I think this is already a Master’s level jazz program. So in 2012, there is going to be the first Master’s program at Berklee, and the Berklee World Jazz Institute is going to be one of the areas where students can come and earn a Master’s. I know that students who come with even more maturity are going to be open to this concept, are going to be even more open to the concepts that Danilo and these artists are bring-ing. Undergraduates are 20, 21. Master’s candi-dates have usually gone through more. And, the Berklee World Jazz Institute is going to be open to students all over the world. I think it’s going to be incredible.


“There are some players who are very talented and they have ‘the attitude’ … Of course, at this stage in their development they can still modify their attitude because they’re so young. When they are surrounded by artists they respect, and who

they see have a completely different vibe—they’ll get it soon.”


JI: Talk about your new album on Telarc, which is part of Concord, and talk about how that whole album developed along with your association with Telarc. GG: You know I had a conversation with Hal Gaba, whose passed on, but was a partner at Concord. He was a driving force for years. It was ten years ago. We were shopping our first record. I had gotten it to him. Actually Johnny Mathis gave it to Phil Ramone who gave it to Hal. Hal called, gushing. He loved it. It was right up his alley. However, they had at that time made other commitments to some other big bands. We had a good conversation and it didn’t lead to anything. A week after that con-versation I hooked up with Emergent Records, which is an independent label that we were on for our first four records and we went with them. It was a great relationship. That rela-tionship had ended and it was time to go with Concord. It always felt like that was home. It’s not like a company owned by a bunch of lawyers or something. They care about the music and they told me, “We want you to make whatever record you want.” Greg Field produced our record. He played drums with Count Basie. So that’s kind of

how I fell in love with big band jazz - because of Count Basie. So we shared that aesthetic and also he was willing to let me make a re-cord that I wanted to make. We didn’t have to do a Big Phat Band plays for lovers, or a Dizzy Gillespie tribute, or an all-Gershwin record. Here’s my concept: let’s play some kick-ass music. That’s it. The only other thing is that I like to have it be a journey, so it’s not all the same thing. I don’t understand artists that make records where every tune is the same tempo. So, our record has a lot of peaks and valleys. There’s a lot of shape to it so you go from a swing tune to a Latin tune to a funk

tune to a kind of classical tune. That to me is a satisfying musical journey. Marketing it may be another issue. Because if you’ve got a publicist who listens to track one, and he thinks that’s what the album is - and then he listens to track six and it sounds like a completely different band …. I will say that, of course, the commonality amongst all of it is my writing. JI: I know that besides compos-ing and arranging being your livelihood, it truly is a labor of love. GG: People who think that the way to bring them satisfaction is money are in for a harsh awaken-ing, because everyone, you know, finds at some point that that’s not enough. JI: If you’re unhappy, then when you have zillions of dollars, you’re just likely to be a miserable millionaire. A quote that I read said: “People will go through hell chasing after

what they discover they really don’t want.” GG: A lot of kids that have that problem, not knowing what they want. Factor in that kids are graduating from college with a Masters Degree and they still can’t get a job, because there’s nothing to do - that’s got to be a very complicated thing, but for me, I was I guess fortunate enough, I never had any other option but to go into music. There was never a single moment’s consideration for anything else, which made it a little easier for me. But more

than that, I never thought of it as a business or any kind of a strategy for how I could make money. It was just like, “I’m gonna play mu-sic, and I’ll play whatever music is in front of me.” And then, I guess after maybe twenty years, I started to get a little more pragmatic and plan my career out a little bit, especially when I realized that there were a lot of really good players and many of them more commit-ted to playing the saxophone or the piano than I was. But there weren’t as many people that could write music. I started to think there may be a niche for me there, in case I had to make a choice, and that turned out to be appropriate I think - never to a point where I wanted to put the saxophone away. I put the damn clarinet away, I’ll tell you that. That’s been a relief not to have to pull the wrong tones on that thing. Matter of fact, we had a fire last year, close to where we live. The police came and knocked on our door on a Sunday morning last year and said, “You’d better pack your stuff up, we’ll let you know if you have to leave.” So I was gone, I was actually away from the house and Lisa called and she goes, “Hey, I got your tenors, I got your alto-soprano, what else should I get? What about your clarinet?” I said, “Hey, let it burn baby.” Anyway, I defi-nitely didn’t want to have a band where I was standing up and conducting a big band. I really wanted to be in the trenches with every-body, and that meant I had to keep my playing up so that I could hang with them. And so, I’ve learned to be very efficient with my prac-tice time, and get a half hour or an hour a day, tops, just to stay in the game. Of course there


Gordon Goodwin By Eric Nemeyer

“I’ve had to remind myself that sometimes people still need to hear it -

because deep down, some of us still have some self-doubt and it’s important

for people to understand that we appreciate them.”

www.bigphatband.com


are some days when it slips, like when pro-moting this record. I’m on the phone and shooting videos and doing things to help pro-mote it. So the tenor here sits on the stand for a couple of days without me picking it up, so I’ll pay the price for that. JI: Talk a little bit about your associations with the guys in the band. GG: It’s a tricky line to walk sometimes. Sometimes I would just appear with those guys on sessions. Now that I’ve evolved, I’m hiring them - not only for the Big Phat Band, but I try to hire them for other film projects, or whatever I’m working on. So it’s changed the dynamic a little bit, personally. I’m sure you’ve experienced it as a business owner. You started with your friends, but you got the final say, and so there’s some distancing that happens. I’ve known many of these guys for thirty years, so we’re still all very close, but there are times that I have to be a hard-ass with them. It’s a combination of remembering to compliment them because sometimes we forget. When I hear Wayne Bergeron or Eric Marienthal excel on the level that they do, it’s easy to think, “Yeah, that’s just Wayne, he’s awesome, of course, he’s going to play that way.” But I’ve had to remind myself that sometimes people still need to hear it - be-cause deep down, some of us still have some self-doubt and it’s important for people to understand that we appreciate them. On the other hand, there have been times when I’ve really dressed the guys down, and expressed disappointment. Often it’s not usually about how they play - because they play well. Usu-ally it’s a focus thing, or maybe they’ve brought some of their work or personal related problems on the bandstand and it’s made them a little bit distracted and not participating as a group. But that is something we don’t tolerate. Or, they bring their ego on. We try to create a culture in this band to take pride in playing as an ensemble, that that has as much value as a solo. That’s a tough sell with a lot of jazz players - because many of them will just sit there and endure the ensemble passages till

it’s their time to blow. It’s not that the im-provisation isn’t a crucial element, but it’s one of the elements in terms of what we do. And so, I want to have people that are willing to make that sacrifice. The other thing is, and I’ve been a bit of a stickler about this lately, is I want people whose heads are completely in the game - who listening and they are aware. So if someone else is soloing, I want to see that you’re involved in that solo. Some big band guys say my job is to play this part, and I’m going to sit here, and I’m just going to play the part and I’m done. That’s not the case with this band. Sometimes, if I tell a joke, I want the audience to see that the whole band is reacting to it, even if they don’t like it, or whatever. There’s a fine line because I want it to be spontaneous, I don’t want it to be con-trived. But I want it to be as visually arresting, as well as aurally arresting for the audience. We have some “schtick” that we do, and the audience likes it. The audience deserves your best presentation. They deserve 100% invest-ment by the guys in the band. I will say this about Rock ‘n Roll - those guys are invested man. When they get up there and play, you can tell they are into it. So whether they feel it or not, I expect them to show that attitude, to show their gratitude that they’re up there and people have paid money to come see us play music. JI: With all of the band members being in-volved in studio work in Los Angeles, you are competing with high ticket work to get them to play with the Big Phat Band. GG: Yes. I was competing not with other big bands, for their attention as much. I am com-peting with Dancing With the Stars. I’m com-peting with the Academy Awards, and I’m competing with film dates, and all those things that pay better money than I’m paying. So, the thing that we worked out is that the guys in the band have to be there more than they’re gone. I kinda look for about a 75% attendance record. If it slips much below that then we have to have a talk, and that means once in a while the guys have to lose money. I think that’s reasonable for us to pay to be members of an organization, and to be a link in the chain of the lineage of big bands. I think that that’s important to them. If it’s not impor-tant to them, then I’m going to find someone that it is important to - because it is important to me. I just got a call from Eric Marienthal the other day. He has to bail on a gig in May that we’re doing. He feels terrible about it, he’s there as much as he can, but he’s got an opportunity to make a lot of money on this other gig. So my rule is to say, well, I’m really happy for you as a friend, that’s great that you’re gonna make that money. At the same time, I don’t want him to think that it’s

okay that he leaves, it’s not okay. It affects us. JI: Talk about some of the players and sounds that are part of this record. GG: Everyone says about their records, that this is our best effort, and all that stuff. But I think from a lot of points of view, the sound of the record is better and I think that the band’s unity is at an all-time level. We did another track with Take 6, my all-time favor-ite a capella group. We’re actually shooting a music video to help promote that track. Mar-cus Miller played bass on that, and that was one of the most incredible experiences to watch that guy. He was playing this kind of funk tune, completely solid - he just gives the music such a grounding, Marcus is a force of nature. The bass part had figures that aligned with the brass section, and some others that aligned with Vinnie who is the bass singer - and no problem, Marcus just read it and added his own stuff in exactly the right places. There’s an original song that my wife and I wrote called “Never Enough,” - kind of a funk tune. We brought in Gerald Albright and Dave Koz on a tune. It actually features three alto players - two guys plus Eric Marienthal. This is an idea that our producer Greg Field had - to bring in three different kinds of sax players. It really came out great because all three of those guys have are really unique stylistically, and bounced off each other in a really interest-ing way. I love the track. Gerald, who’s kind of a funky guy, has some real bebop, chops. Then there’s Koz who I met about three, four years ago. We did a charity event, and he played a tune with the band. It was “Misty.” I did an arrangement for him - and he’s playing this melody, and I’ve never seen a musician be more communicative in terms of his ability to express. It’s almost like how Sinatra was able to convey a nuance in storytelling and how he would sing a lyric. Koz does that on the saxophone and I’m watching the audience, and I can see they’re leaning forward. They’re just leaning towards him as he plays this mel-ody. Now Koz wouldn’t describe himself as a jazz player. He’s a great human being. He came in there and he was playing with Gerald and he’s playing with Eric, whose got like Michael Brecker level technique, you know. And Koz was like, “Oh I’m going to do my thing.”

“When you do the things you need

to do when you need to do them, the day will come when you can do the things

you want to do when you want to do them.”

-- Zig Ziglar, Motivational Speaker


“Men are anxious to improve their circumstances, but are unwilling to improve themselves; they therefore

remain bound.”

- James Allen, As A Man Thinketh


JAZZ EDUCATION SOURCEBOOK (continued from page 12)

Hunter College of CUNY Ryan Keberle Department of Music 413 Hunter North New York, NY 10065 (212) 771-5020 [email protected] www.hunter.cuny.edu/~music Juilliard Institute for Jazz Studies Carl Allen, Artistic Director of Juilliard Jazz Studies 60 Lincoln Center Plaza, Rm. 222 New York, NY 10023-6590 212-799-5000 [email protected] www.juilliard.edu Degrees: Bachelor Degrees: Jazz Studies, Graduate Degrees: Master of Music, Jazz Studies, Artist Diploma – pre-professional curriculum in the Juilliard Institute for Jazz Studies (a collaboration with Jazz at Lincoln Center) Faculty: Includes Carl Allen, Kenny Barron, Ron Blake, Kendall Durelle Briggs, Ron Carter, Xavier Davis, Antono Ciacca,, Billy Drummond, Ray Drummond, Andy Farber, Eddie Henderson, Frank Kimbrough, Mark Sherman, Kenny Washington Long Island University-Brooklyn Campus Bob Aquino Department of Music 1 University Plaza Brooklyn, NY 11436-1331 (718) 488-1668, [email protected] www.liu.edu/brooklyn/music Bachelor Degrees: B.FA and B.A. Faculty: Eddie Allen, Freddie Bryant, Sam Newsome, Carlo DeRosa, Gloria Cooper, Bob Aquino Manhattan School of Music Justin DiCioccio 601 West 122nd St New York, NY 10027 212-749-2802, [email protected] www.msmnyc.edu Faculty: Includes Jay Anderson, Justin DiCioccio, Bobby Sanabria, Jaime Baum, Rodney Jones, Samir Chatterjee, Kenny Barron, David Liebman, Luis Bonilla, Cecil Bridgewater, Jospeh Locke, John Blake, Theo Bleckmann, Richard Sussman, David-Lalama New Jersey City University Dr. Edward Joffe, Jazz Studies Program 2039 Kennedy Boulevard Jersey City, NJ 7305 201-200-3091 [email protected] www.njcu.edu Bachelor Degrees: B.M. in Performance (Jazz & Classical), B.A. in Music, Music Education, or Music Business Graduate Degrees: M.M. in Performance (Jazz & Classical), Multiple Woodwind Per-formance, or Music Education Faculty: Ed Joffe, Luis Bonilla, Andy Eulau, Allen Farnham, Tim Horner, Bill Kirchner,

Joe Magnarelli, Paul Meyers, Mark Sherman, Roseanna Vitro, Joel Weiskopf New School Jazz & Contemporary Music Program Martin Mueller 55 W. 13th Street, 5th FL New York, NY 10011 212-229-5896 [email protected] Faculty: Includes Ahmed Abdullah, Junko Arita, Daniel Beliavsky, Jay Bianchi, Jane Ira Bloom, Richard Boukas, Joanne Brackeen, Cecil Bridgewater, Brian Camelio, Steve Cardenas, Jeff Carney, Haim Cotton, Alexis Cuadrado, Andrew Cyrille, Gerard D’Angelo, Armen Donelian, Mario Escalera, Hal Galper, Dave Glasser, Dan Greenblatt, and many more [email protected] www.newschool.edu/jazz New York University Jazz/Contemporary Music Studies Dr. David Schroeder 35 West 4th Street Room # 980 Suite # 777 New York, NY 10012 212-998-5424, [email protected] www.education.nyu.edu/music.jazz Bachelor Degrees: B.M. in Music Perform-ance and Jazz Studies Graduate Degrees: M.A. and Ph.D. in Music Performance and Jazz Studies Faculty: Includes Dr. Dave Schroeder, Bruce Arnold, Donald Friedman, Memo Acevedo, Kenny Werner, John Scofield, Ralph La-lama, Billy Drummond, Ron McClure, Stefon Harris, and many more Purchase College - Jazz Institute Purchase College, SUNY Todd Coolman 735 Anderson Hill Road Purchase, NY 10577 (914) 251-6716

[email protected] www.purchase.edu/music Bachelor Degrees: B.M. in Performance – Jazz Studies Graduate Degrees: M.M. in Performance – Jazz Studies; Performer Certificate; Artist’s Diploma Faculty: Includes Eric Alexander, Jon Fad-dis, John Fedchock, Doug Munro, Charles Blenzig, Todd Coolman, Richie Morales, Ted Piltzecker, and many more Queens College Copland School of Music Michael Mossman, Director of Jazz Studies Flushing, NY 11367

718-997-3823 [email protected] www.qc.edu/music, Admissions: (718) 997-5200 Graduate Degrees: M.M. in Jazz Perform-ance and Jazz Composition Faculty: David Berkman, Vince Cherico, Gene Jackson, Leon Dorsey, Antonio Hart, Luis Bonilla, Steve Turre, Theo Bleckman, J. D. Walter, Michael Mossman, Paul Bollen-back, Tom Guarna, Jeb Patton Rutgers University at New Brunswick Mason Gross School of the Arts Stanley Cowell Music Department 100 Clifton Avenue New Brunswick, NJ 08903-0270 (732) 932-8713, [email protected] www.masongross.rutgers.edu/music Degrees: Bachelor of Music, Master of Music Faculty: Ralph Bowen, Stanley Cowell, Conrad Herwig, Vic Juris, Victor Lewis, Mike Richmond, Joe Magnarelli William Paterson University David Demsey 300 Pompton Road Wayne, NJ 7470 973-720-2320 [email protected], www.wpunj.edu Degrees: B.M. in Jazz Studies and Perform-ance, Sound Engineering Arts/Jazz Concen-tration, Music Management/Jazz Concentra-tion and Music Education/Jazz Concentra-tion. M.M. in Jazz Studies, Concentrations in Perf, Arranging Faculty: Includes David Demsey, Vincent Herring, Rich Perry, Nancy Marano, Paul Meyers, Armen Donelian, Harold Mabern, Mulgrew Miller, Janet Reeves, James Weid-man, Steve LaSpina, Marcus McLaurine, Horacee Arnold, Bill Goodwin, Kevin Norton, Cecil Bridgewater, Richard DeRosa, Jim McNeely, Clark Terry and many more.

Selected List Schools USA Berklee College of Music 1140 Boylston St. Boston, MA 2215 (617) 747-2221 Bachelor Degrees: Music Education, Film Scoring, Songwriting, Performance, Music Production & Engineering, Music Synthesis, Music Business/Management, Music Ther-apy, Contemporary Writing & Production, Composition, Professional Music, Jazz Composition, dual major options www.berklee.edu

Eastman School of Music Harold Danko, Jazz Studies & Contempory Media 26 Gibbs Street Rochester, NY 14604 585-274-1449 [email protected] www.rochester.edu/eastman/jazz Degrees: Bachelor Degrees in Jazz Studies and Contemporary Media, Graduate Degree: M.M. in Jazz Studies and Contemporary Media Faculty: Christopher D. Azzara, Jeffrey Campbell, Tony Caramia, Harold Danko, Bill Dobbins, José Encarnacion, Clay Jenkins, Mark Kellogg, Howard Potter, Dave Rivello, Bob Sneider, Dariusz Terefenko, Rich Thompson, Robert W. Wason Howard University Charlie Young 111, Jazz Studies College of Arts and Sciences Music Department 2400 6th St NW Washington, DC 20059 (202) 806-7872 [email protected] www.coas.howard.edu/music Admissions: (202) 806-7082 Bachelor Degrees: B.M. in Jazz Studies, Music Business – Jazz, Music Education, Composition, Music History, Music Therapy, Music Business Graduate Degrees: Master of Music, Master of Music Education Faculty: Charlie Young lll, Connaitre Miller, Jessica Boykin-Settles, Charles Covington, Sais Kamalidiin, Steve Novosel Indiana University Jacobs School of Music Dr. David Baker Department of Jazz Studies 1201 E. 3rd St. Bloomington, IN 47405 818-855-8546 [email protected]

www.music.indiana.edu Pat Harbison; Admissions: [email protected] Faculty: David Baker, Luke Gillespie, Patrick Harbison, Steve Houghton, Brent Wallarab, Thomas Walsh, Jeremy Allen, Michael Spiro, Joey Tartell Lehigh University Gene Perla Music Department, Zoellner Arts Center 420 East Packer Avenue Bethlehem, PA (610) 758-3835, [email protected] www.lehigh.edu/~inmsc/


“One of the biggest challenges facing students everywhere is in understanding that their development as artists is an inherently long term life development, this directly at odds

with the ‘straight to stardom’ sound bite culture they’ve grown up in.” - Martin Mueller, New School


Admissions: (610) 758-3000 Dana Stowe Faculty: Dave Riekenberg, Bill Warfield, Gene Perla, bob DeVos, Tom Guarna, Tim Harrison, Vic Juris, Scott Neumann, Dave Brandom Montclair State University Cali School of Music Dr. Jeffrey Kunkel, Jazz Program Director 1 Normal Avenue Montclair, New Jersey 07043 Dr. Jeffrey Kunkel 973-655-7215 [email protected], www.montclair.edu Admissions: (973) 655-4444 Faculty: Jeffrey Kunkel, Stephen Benson, Rogerio Boccata, Don Braden, Alan Fer-ber,Steve Johns, Tony Kadleck, John Linder, Bill Moring, Holli Ross, Dave Stryker New England Conservatory Ken Schaphorst, Chair of Jazz Studies 290 Huntington Avenue Boston, MA 2115 (617) 585-1388 [email protected] www.necmusic.sdu Bachelor Degree: B.M. or Undergraduate Diploma in Jazz Performance, Jazz Compo-sition, or Contemporary Improvisation

Graduate Degrees: M.M., Graduate Di-ploma, D.M.A., or Artist Diploma in Jazz Performance, Jazz Composition, or Contem-porary Improvisation Faculty: Jerry Bergonzi, Ran Blake, Fred Buda, Frank Carlberg, Gary Chaffee, An-thony Coleman, , Dominique Eade, Billy Hart, Jerry Leake, John Lockwood, Cecil McBee, Jorrit Dijkstra, Fred Hersh, Dave Holland, Joe Hunt, Donny McCaslin, John McNeil, Jason Moran, Joe Morris, Rakalam Bob Moses, Hankus Netsky, Bob Nieske, Tim ray, Dave Samuels, Ken Schaphorst, Ben Schwendener, Brad Shepik, Oscar Stag-naro, Miguel Zenón, Norman M.E. Zoeher Peabody Institute at Johns Hopkins University Gary Thomas, Director of Jazz Studies 1 East Mt. Vernon Place Baltimore, MD 21202-2397 410-659-8100, [email protected] www.peabody.jhu.edu/jazz Bachelor Degrees: B.M. in Jazz Perform-ance in Trumpet, Percussion, Double Bass, Saxophone, Flute, Piano, Guitar, Voice Faculty: Nasar Abadey, Paul Bollenback, Jay Clayton, Michael Formanek, Alan Fer-ber, Timothy Murphy, Alexander Norris, Gary Thomas Princeton University

Woolworth Center Musical Studies Department of Music Dr Anthony Branker, Jazz Program Director 203 Woolworth Center Princeton, NJ 08544-1007 609-258-4241 [email protected] www.princeton.edu/~puje Bachelor Degrees: B.A. in Music; Certificate in Musical Performance (Jazz) Graduate Degrees: M.A. & Ph.D. in Compo-sition and Musicology Faculty: Anthony Branker, Ralph Bowen, Michael Cochrane, Bruce Arnold, Brian Glassman, Adam Cruz, Kenny Davis, Lara Pellegrinelli Temple University Esther Boyer College of Music and Dance Terell Stafford, Director of Jazz Studies 2001 N 13th Street Philadelphia, PA 19122 (215) 204-8036, [email protected] www.temple.edu/music Admissions: [email protected] Bachelor Degrees: B.M. in Jazz Instrumental Performance, Jazz Vocal Performance, Jazz Arranging and Composition, Music Educa-tion with a Jazz Component, Music Therapy with a Jazz Component

The College of Saint Rose Paul Evoskevich, Jazz Studies 432 Western Avenue Albany, NY 12203 (518) 454-5195 [email protected] www.strose.edu Bachelor Degrees: B.A. in Music, B.S. in Music Industry and Music Education Graduate Degrees: M.A. in Music Technol-ogy, M.S. in Ed. in Music Education Faculty: Paul Evoskevich, Dennis A. Johns-ton, Michael Levi, Cliff Bruker, Matthew Fink, Gary Kelly, Shawn McClowry, Lee Shaw, Danielle Cremisio, Matthew Cremisio Hartt School at University of Hartford The Jackie McLean Institute of Jazz Peter Woodward, chair 200 Bloomsfield Avenue West Hartford, CT 06117-1599 (860) 768-4465, [email protected] www.harttweb.hartford.edu Bachelor Degrees: Instrumental Perform-ance and Vocal Performance Master Degrees: Instrumental Performance and Vocal Performance Faculty: Kris Allen, Christopher Casey, Steve Davis, Richard Goldstein, Eddie Henderson, Randy Johnston, Andy LaVerne, René McLean, Eric McPherson, Shawn Monteiro, Nat Reeves, Edward Rozie Thelonious Monk Institute of Jazz

Washington, DC Office: 5225 Wisconsin Avenue NW, Suite 605Washington, DC 20015 (202) 364-7272 [email protected] Los Angeles Office: 1801 Avenue of the Stars, Suite 302 Los Angeles, CA 90067 (310) 284-8200 [email protected] New Orleans Office: 6363 St. Charles Ave-nue, Campus Box 8 New Orleans, LA 70118 (504) 865-2100 [email protected] www.monkinstitute.org University of Louisville Michael A. Tracy, Director Jamey Aebersold Jazz Studies Program University of Louisville - School of Music Louisville, KY 40292 502- 852 -6032 [email protected] www.louisville.edu/music/jazz Admissions: (502) 852-1623 Faculty: Ansyn Banks, Jim Connerley, Chris Fitzgerald, John LaBarbera, Jason Tiemann, Jerry Tolson, Mike Tracy, Craig Wagner, Tyrone Wheeler Univ. of Massachusetts – Amherst Jeffrey W. Holmes, Director of Jazz Studies Department of Music 252 Fine Arts Center Amherst, MA 01003 413-545-6046

[email protected] www.umass.edu/music/ Bachelor Degrees: B.M and B.A. in Jazz Performance plus Performance, Music Education, History, Theory, or Composition Graduate Degrees: Jazz Composition & Arranging plus History, Composition, Music Education, Performance, Conducting, or Theory. Faculty: Jeffrey Holmes, T. Dennis Brown, Willie Hill, Catherine Jensen-Hole, Robert Ferrier, Felipe Salles University of Michigan School of Music, Theatre & Dance E.V. Moore Building 1100 Baits Dr. Ann Arbor, MI 48109-2085 734- 764-0583 Department of Jazz & Improvisation Ellen H. Rowe, chair elrowe@umich,edu 734-647-6297 www.music.umich.edu/departments/jazz Faculty: Ellen Rowe, Geri Allen, Andrew Bishop, Michael Gould, Robert Hurst, Ed-ward W. Sarath, Dennis Wilson Degree Programs: Bachelor of Fine Arts in Jazz & Contemplative Studies, Bachelor of Fine Arts in Jazz & Contemporary Improvisa-tion, Bachelor of Fine Arts in Jazz Studies, Bachelor of Fine Arts in Jazz Studies with Teacher Certification, Bachelor of Musical Arts, Master of Music in Improvisation

University of Miami Frost School of Music Department of Studio Music & Jazz Whitney Sidener, Chair P.O. Box 248165 Coral Gables, FL 33124-7610 305-284-5813 [email protected], www.music.miami.edu Faculty: Randall Dollahon, Stephen Rucker, John Yarling, Nicole Yarling, Whitney Si-dener, Gary Keller, Dante Luciani, Rachel Lebon, Lisanne Lyons, Daniel C. Strange, Martin Bejerano, Charles Bergeron, Richard E. Bravo, Donald Coffman. University of North Florida Department of Music J.B. Scott, Jazz Studies 4567 St. John's Bluff Road South Jacksonville, FL 32224-2645 904-646-2960 [email protected] www.unf.edu/coas/music Bachelor Degrees: B.M. in Jazz Perform-ance/Arranging and Music; B.A. in Music Faculty: Barry Greene, Lynne Arriale, Marc Dickman, Danny Gottlieb, Dennis Marks, J.B. Scott, Michelle Amato, Clarence Hines, William Prince University of North Texas College of Music – Division of Jazz Studies Darla Mayes, Jazz Studies Admin Asst 1155 Union Circle #305040 Denton, TX 76203 940-565-3743 [email protected] John Murphy, Division Chair [email protected] 840-565-4344 www.music.unt.edu/jazz Bachelor Degrees: Bachelor of Music Graduate Degrees: Master of Music Faculty: Tony Baker, Rosana Eckert, Dan Haerle, Fred Hamilton, Stefan Karlsson, Brad Leali, John Murphy, Rodney Booth, Richard DeRosa, Jay Saunders, Lynn Sea-ton, Ed Soph, Mike Steinel, Steve Wiest University of the Arts School of Music –Jazz Studies 320 South Broad Street Philadelphia, PA 19102 800-616-2787 www.uarts.edu Admissions: (215) 717-6030 Bachelor of Music in Jazz Studies; Graduate Degrees: Master of Music in Jazz Studies, Master of Arts in Teaching in Music. Western Michigan University School of Music – Jazz Studies program Tom Knific, Jazz Chair 1903 W. Michigan Avenue Kalamazoo, MI 49008 [email protected] 269-387-4762, www.wmich.edu/music Faculty: Tom Knific, Scott Cowan, Keith Hall, Trent Kynaston, Robert Ricci, Steve Zegree, Duane Shields Davis, Michael Wheaton, Billy Hart, Fred Hersch, Tim Froncek

(Continued from page 21)


“what determines a student’s success is whether they decide to see the world as a place of abundance, where the success of others is to be applauded and emulated, or a place of scarcity where the success

of others is to be feared.” - Michael Mossman, Queens College


NEW YORK CITY Mon 8/1: Camila Meza, Pablo Menares & Joris

Roelofs at The Bar Next Door. 8:30pm & 10:30pm. $12 cover all night. 129 MacDougal St. 212-529-5945. www.lalanternacaffe.com.

Mon 8/1: Rufus Reid with Steve Allee & Duduka Da Fonseca at The Apple Store. 7:00pm. 1981 Broadway. 212-209-3400. www.apple.com/retail/upperwestside. www.rufusreid.com

Mon 8/1: University of the Streets at Muhammad Salahuddeen Memorial Jazz Theatre. Ches Smith & These Arches at 8:00pm & 10:00pm. 130 E. 7th St. (just west of Ave. A). 212-254-9300. www.universityofthestreets.org.

Mon 8/1: Hajime Yoshida Quartet at Tomi Jazz. 9:00pm. 239 E. 53rd St., lower level. 646-497-1254. www.tomijazz.com.

Tues 8/2: Yayoi Filipski at Miles’ Café. 8:30pm. $19.99 cover; $17 with student ID. 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657. www.milescafe.com.

Tues 8/2: University of the Streets at Muhammad Salahuddeen Memorial Jazz Theatre. Cameron Brown & Dannie’s Calypso at 8:00pm & 10:00pm. 130 E. 7th St. (just west of Ave. A). 212-254-9300. www.universityofthestreets.org.

Tues 8/2-Sat 8/6: Terence Blanchard Quintet at Birdland. 8:30pm & 11:00pm. 315 W. 44th St.

Tues 8/2, 8/9, 8/16, 8/23, 8/30: Joel Frahm at The Bar Next Door. 8:30pm & 10:30pm. $12 cover all night. 129 MacDougal St. 212-529-5945. www.lalanternacaffe.com.

Tues 8/2: University of the Streets. Cameron Brown & Dannie’s Calypso at 8:00pm & 10:00pm. $15. 130 E. 7th St. (just west of Ave. A). 212-254-9300. www.universityofthestreets.org.

Wed 8/3: University of the Streets at Muhammad Salahuddeen Memorial Jazz Theatre. Steven Ruel Quartet at 8:00pm. $10. 130 E. 7th St. (just w e s t o f A v e . A ) . 2 1 2 - 2 5 4 - 9 3 0 0 . www.universityofthestreets.org.

Wed 8/3: Ran Mantilla Good Vibration Band at Grant’s Tomb. 7:00pm. Free. Riverside Dr. & W. 122nd St. www.jazzmobile.org

How to Get Your Gigs and Events Listed in Jazz Inside Magazine Submit your listings via e-mail to [email protected]. Include date, times, loca-tion, phone, info about tickets/reservations. Deadline: 15th of the month preceding publication (e.g. Aug. 15 for Sept). We cannot guarantee the publication of all submissions.

Calendar of Events


Wed 8/3, 8/10, 8/17, 8/24, 8/31: Louis Armstrong Centennial Band at Bird-land. 5:30pm. 315 W. 44th St. (Bet. 8th & 9th Ave.) 212-581-3080.

Wed 8/3, 8/10, 8/17, 8/24, 8/31: Jonathan Kreisberg Trio at The Bar Next Door. 8:30pm & 10:30pm. $12 cover all night. 129 MacDougal St. 212-529-5945. www.lalanternacaffe.com.

Wed 8/3: Travis Sullivan Quartet at Miles’ Café. 8:30pm. $19.99 cover; $17 with student ID. 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657. www.milescafe.com.

Wed 8/3, 8/10, 8/17, 8/24, 8/31: Amateur Night at the Apollo Theater. 8:00pm. 253 W. 125th St. 800-745-3000. www.apollotheater.org.

Thurs 8/4: Hendrik Meurkens, Gustavo Amarante & Misha Tsiganov at The Bar Next Door. 8:30pm & 10:30pm. $12 cover all night. 129 MacDougal St. 212-529-5945. www.lalanternacaffe.com.

Thurs 8/4: Miles’ Café. Tom Tallitsch at 8:30pm. Isaac Darche Quintet at 10:00pm. $19.99 cover; $17 with student ID. 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657. www.milescafe.com.

Thurs 8/4: Cameron Brown with Sheila Jordan & Don Byron at St. Peter’s Church. 12:30pm. Free. 619 Lexington Ave. @ 54th St. 212-242-2022. (Bet. 53rd & 54th St.) www.saintpeters.org.

Fri 8/5: Curtis Macdonald Group at the Rubin Museum of Art. 7:00pm. $18 in advance; $20 at door. “Harlem in the Himalayas.” 150 W. 17th St. 212-620-5000. www.rmanyc.org.

Fri 8/5: Johnny James III Quintet at Triad Theater. 9:00pm. $15; 2-drink min. 158 W. 72nd St. www.triadnyc.com.

Fri 8/5: Miles’ Café. Martin Seiler Quartet at 7:00pm. Cindy Devereaux Trio at 8:30pm. Matthew Fries at 10:00pm. $19.99 cover; $17 with student ID. 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657. www.milescafe.com.

Fri 8/5: Patrick Cornelius, Ben Wolfe & Johnathan Blake at The Bar Next Door. 7:30pm, 9:30pm & 11:30pm. $12 cover per set. 129 MacDougal St. 212-529-5945. www.lalanternacaffe.com.

Fri 8/5, 8/12, 8/19, 8/26: Birdland Big Band, 5:00pm. 315 W. 44th St. Sat 8/6: Lage Lund, Orlando LeFleming & Marcus Gilmore at The Bar Next

Door. 7:30pm, 9:30pm & 11:30pm. $12 cover per set. 129 MacDougal St. 212-529-5945. www.lalanternacaffe.com.

Sat 8/6: Miles’ Café. Caleb Curtis & Chris Pattishall at 5:30pm. Faustina’s Quintet at 7:00pm. Amir Rubinshtein at 8:30pm. Alexander Clough at 10:00pm. $19.99 cover; $17 with student ID. 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657. www.milescafe.com.

Sat 8/6: Charles T. Turner III and Jazzmeia Horn at Nuyorican Poets Café. 9:00pm. $15. Complimentary banana puddin’. 236 E. Third St. (Bet. B & C Ave.) 212-465-3167. www.nuyorican.org.

Sat 8/6: University of the Streets at Muhammad Salahuddeen Memorial Jazz Theatre. Belogenis, Fabbriccini & Ughi at 8:00pm. Ray Anderson & Mark Helias at 10:00pm. 130 E. 7th St. (just west of Ave. A). 212-254-9300. www.universityofthestreets.org.

Sun 8/7, 8/14, 8/21, 8/28: Junior Mance & Hide Tanaka at Café Loup. 6:30pm. No cover. 105 W. 13th St. @ 6th Ave. 212-255-4746. www.juniormance.com

Sun 8/7: Roz Corral 3 at North Square Lounge. 12:30pm & 2:00pm. No cover or min. 103 Waverly Pl. @ MacDougal. 212-254-1200. www.northsquarejazz.com.

Sun 8/7: Miles’ Café. Stockholm Swingin’ at 7:00pm. $19.99 cover; $17 with student ID. 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657. www.milescafe.com.

Sun 8/7: Peter Mazza, Tim Hayward & Thomson Kneeland at The Bar Next Door. 8:00pm & 10:00pm. $12 cover all night. 129 MacDougal St. 212-529-5945. www.lalanternacaffe.com.

Mon 8/8: Nancy Harms with Peter Mazza & Rogerio Boccato at The Bar Next Door. 8:30pm & 10:30pm. $12 cover all night. 129 MacDougal St. 212-529-5945. www.lalanternacaffe.com.

Mon 8/8: University of the Streets at Muhammad Salahuddeen Memorial Jazz Theatre. Nicandro Emillio Tamez at 8:00pm. Max Johnson Trio 10:00pm. $10. 130 E. 7th St. (just west of Ave. A). 212-254-9300. www.universityofthestreets.org.

Tues 8/9: Somi with Morley, Teju Cole, Michael Olatuja, Dave Eggar, Jeff Haynes, Liberty Ellman & Jaleel Shaw at (le) poisson rouge. 7:00pm. $20; $22 at door. 158 Bleecker St. 212-505-FISH. www.lepoissonrouge.com.

Artists, Music Busineses & Organizations:

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messages, photos and videos via Jazz NewsWire’s

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Tues 8/9: Miles’ Café. Deb Berman at 7:00pm.

Ben Winkelman Trio at 8:30pm. Matt Bakearat 10:00pm. $19.99 cover; $17 with student ID. 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657. www.milescafe.com.

Tues 8/9: University of the Streets at Muhammad Salahuddeen Memorial Jazz Theatre. Shai Maes-tro Trio at 8:00pm. Endangered Blood 10:00pm. $10. 130 E. 7th St. (just west of Ave. A). 212-254-9300. www.universityofthestreets.org.

Tues 8/9-Sat 8/13: Kurt Rosenwinkel Orquestra Jazz de Matosinhos at Birdland. 8:30pm & 11:00pm. 315 W. 44th St., 212-581-3080.

Wed 8/10: Donny McCaslin with Uri Caine, Fima Ephron & Mark Guiliana at 55 Bar. 10:00pm. 55 Christopher St. 212-929-9883. www.55bar.com.

Wed 8/10: University of the Streets at Muham-mad Salahuddeen Memorial Jazz Theatre. Big Bang Ensemble at 8:00pm. Adam Antine Vehicle 10:00pm. $10. 130 E. 7th St. (just west of Ave. A). 212-254-9300. www.universityofthestreets.org.

Wed 8/10: Geri Allen at Grant’s Tomb. 7:00pm. Free. Riverside Dr. & W. 122nd St. www.jazzmobile.org

Wed 8/10: Miles’ Café. Bob Rodriguez Trio at 7:00pm. Erika Matsuo Quartet at 8:30pm. Deb-orah Latz at 10:00pm. $19.99 cover; $17 with stu-dent ID. 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657. www.milescafe.com.

Thurs 8/11: Sachal Vasandani Ensemble at St. Peter’s Church. 12:30pm. Free. 619 Lexington Ave. @ 54th St. 212-242-2022. (Bet. 53rd & 54th St.) www.saintpeters.org.

Thurs 8/11: Sebastian Noelle, Thomson Knee-land & Tony Moreno at The Bar Next Door. 8:30pm & 10:30pm. $12 cover all night. 129 Mac-D o u g a l S t . 2 1 2 - 5 2 9 - 5 9 4 5 . www.lalanternacaffe.com.

Thurs 8/11: Miles’ Café. Aline Almeida at 7:00pm. Daniel Jamieson Quintet at 8:30pm. Brad Linde at 10:00pm. $19.99 cover; $17 with student ID. 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657. www.milescafe.com.

Thurs 8/11: University of the Streets at Muham-mad Salahuddeen Memorial Jazz Theatre. Tamez-Swell-Grassi-Fonda at 8:00pm. $10. 130 E. 7th St. (just west of Ave. A). 212-254-9300. www.universityofthestreets.org.

Thurs 8/11: Scot Albertson Trio at Tomi Jazz. 9:00pm. 239 E. 53rd St., lower level. 646-497-1254. www.tomijazz.com.

Fri 8/12: Jane Stuart with Rave Tesar & Rick De Kovessey at New Leaf Café. 7:30pm. 1 Margaret Corbin Dr. (Ft. Tryon Park) 212-568-5323. www.janestuartmusic.com

Fri 8/12: Miles’ Café. Alexander McCabe at 7:00pm. Adam Larson at 8:30pm. Christian Nourijanian Quintet at 10:00pm. $19.99 cover; $17 with student ID. 212 E. 52nd St., 3rd Fl. (Bet.


2 n d & 3 r d A v e . ) 2 1 2 - 3 7 1 - 7 6 5 7 . www.milescafe.com.

Fri 8/12: Gilad Hekselman, Joe Martin & Marcus Gilmore at The Bar Next Door. 7:30pm, 9:30pm & 11:30pm. $12 cover per set. 129 MacDougal St. 212-529-5945. www.lalanternacaffe.com.

Fri-Sat 8/12-8/13: Return to Forever IV with Chick Corea, Stanley Clarke, Lenny White, Jean-Luc Ponty & Frank Gambale at Beacon Theatre. 8:00pm. $49.50-$129.50. 2124 Broadway (Bet. W. 7 4 t h & 7 5 t h ) . 2 1 2 - 4 6 5 - 6 5 0 0 . www.beacontheatrenyc.com

Sat 8/13: University of the Streets at Muhammad Salahuddeen Memorial Jazz Theatre. Daniel Carter, Max Johnson & Federico Ughi at 8:00pm. Federico Ughi Trio at 10:00pm. $10. 130 E. 7th St.

(just west of Ave. A). 212-254-9300. www.universityofthestreets.org.

Sat 8/13: Miles’ Café. NY Jazz Academy Improv Workshop at noon. Linda Presgrave Quartet at 5:30pm. Kavita Shah Trio at 7:00pm. Dee Cas-sella at 8:30pm. $19.99 cover; $17 with student ID. 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657. www.milescafe.com.

Sat 8/13: Adam Larson with Chris Talio & Jason Burger at The Bar Next Door. 7:30pm, 9:30pm & 11:30pm. $12 cover person. 129 MacDougal St. 212-529-5945. www.lalanternacaffe.com.

Sun 8/14: Mark Foster Conklin Trio at North Square Lounge. 12:30pm & 2:00pm. No cover or min. 103 Waverly Pl. @ MacDougal. 212-254-1200. www.northsquarejazz.com.

Sun 8/14: Miles’ Café. Yuko Kimura Trio at 7:00pm. Emily Elizabeth at 8:30pm. $19.99 cover; $17 with student ID. 212 E. 52nd St., 3rd Fl. (Bet. 2 n d & 3 r d A v e . ) 2 1 2 - 3 7 1 - 7 6 5 7 . www.milescafe.com.

Sun 8/14: Peter Mazza, Hendrik Meurkens & Thomson Kneeland at The Bar Next Door. 8:00pm & 10:00pm. $12 cover all night. 129 Mac-D o u g a l S t . 2 1 2 - 5 2 9 - 5 9 4 5 . www.lalanternacaffe.com.

Mon 8/15: University of the Streets at Muham-mad Salahuddeen Memorial Jazz Theatre. Chris Forbes Trio at 8:00pm. Paper Snakes at 10:00pm.

$10. 130 E. 7th St. (just west of Ave. A). 212-254-9300. www.universityofthestreets.org.

Mon 8/15: Roz Corral with Dave Stryker & Or-lando LeFleming at The Bar Next Door. 8:30pm & 10:30pm. $12 cover all night. 129 MacDougal St. 212-529-5945. www.lalanternacaffe.com.

Tues 8/16: Miles’ Café. Paul Carlon Group at 8:30pm. Michael Webster at 10:00pm. $19.99 cover; $17 with student ID. 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657. www.milescafe.com.

Tues 8/16-Sat 8/20: The Masters Quartet at Bird-land. 8:30pm & 11:00pm. 315 W. 44th St.

Wed 8/17: Jane Stuart, Rave Tesar & Rick De Kovessey at St. Peter’s Church. 1:00pm. 619 Lexington Ave. @ 54th St. 212-242-2022. (Bet. 53rd & 54th St.) www.saintpeters.org.

Wed 8/17: Moldy Fig Jazz Club. Rome Neal with Richard Clements, Murray Wall & Ya Ya @ 8:00pm & 10:00pm. $5 cover. 178 Stanton St. 646-559-2553. www.moldyfigjazzclub.com

Wed 8/17: Miles’ Café. Elly Hoyt Band at 7:00pm. Max Cudworth at 8:30pm. $19.99 cover; $17 with student ID. 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657. www.milescafe.com.

Wed 8/17: University of the Streets at Muham-mad Salahuddeen Memorial Jazz Theatre. Kirk Knuffke Quartet at 8:00pm. 2’s & 4’s at 10:00pm. $10. 130 E. 7th St. (just west of Ave. A). 212-254-9300. www.universityofthestreets.org.

Thurs 8/18: Jill McManus with Ed Schuller at Sofia’s. 7:00pm. 221 W. 46th St.

Thurs 8/18: Mike Baggetta with Cameron Brown & Jeff Hirschfield at The Bar Next Door. 8:30pm & 10:30pm. $12 cover all night. 129 MacDougal St. 212-529-5945. www.lalanternacaffe.com.

Thurs 8/18: Miles’ Café. Rodrigo Bonelli Group at 7:00pm. Napua Davoy Trio at 8:30pm. Mark Miller at 10:00pm. $19.99 cover; $17 with student ID. 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657. www.milescafe.com.

Thurs 8/18: Alex Brown Band at St. Peter’s Church. 12:30pm. Free. 619 Lexington Ave. @ 54th St. 212-242-2022. (Bet. 53rd & 54th St.) www.saintpeters.org.

Thurs 8/18: Will Calhoun at Morningside Park. 7:00pm. Free. Morningside Ave. & W. 114th St. Performance followed by a film screening from Maysles Cinema. www.jazzmobile.org

Fri 8/19: Jon Irabagon, Yasushi Nakamura & Rudy Royston at The Bar Next Door. 7:30pm, 9:30 & 11:30pm. $12 cover per set. 129 MacDougal St. 212-529-5945. www.lalanternacaffe.com.

Fri 8/19: Miles’ Café. David White Band at 7:00pm. Jazz Horn Quintet at 8:30pm. Joe Benja-min at 10:00pm. $19.99 cover; $17 with student ID. 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657. www.milescafe.com.

Sat 8/20: University of the Streets at Muhammad Salahuddeen Memorial Jazz Theatre. Smart Growth Zone at 10:00pm. $10. 130 E. 7th St. (just w e s t o f A v e . A ) . 2 1 2 - 2 5 4 - 9 3 0 0 . www.universityofthestreets.org.

Sat 8/20: Jerome Sabbagh, Joe Martin & Elliot Zigmund at The Bar Next Door. 7:30pm, 9:30pm


& 11:30pm. $12 cover per set. 129 MacDougal St. 212-529-5945. www.lalanternacaffe.com.

Sat 8/20: Miles’ Café. NY Jazz Academy Improv Workshop at noon. Gabrielle Goodman Vocal Improv Workshop at 2:30pm. Sharel Cassity at 7:00pm. Dave Kain at 8:30pm. Jonathan Parker at 10:00pm. $19.99 cover; $17 with student ID. 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657. www.milescafe.com.

Sun 8/21: University of the Streets at Muhammad Salahuddeen Memorial Jazz Theatre. Mike Serrano Band at 8:00pm. $10. 130 E. 7th St. (just w e s t o f A v e . A ) . 2 1 2 - 2 5 4 - 9 3 0 0 . www.universityofthestreets.org.

Sun 8/21: Mark Cocheo Trio at The Bar Next Door. 8:30pm & 10:30pm. $12 cover all night. 129 M a c D o u g a l S t . 2 1 2 - 5 2 9 - 5 9 4 5 . www.lalanternacaffe.com.

Sun 8/21: Cynthia Soriano Trio at North Square Lounge. 12:30pm & 2:00pm. No cover or min. 103 Waverly Pl. @ MacDougal. 212-254-1200. www.northsquarejazz.com.

Sun 8/21: Miles’ Café. Jeremy Quick Trio at 4:00pm. Kuni Mikami Trio with Kyoko Saegusa at 5:30pm. $19.99 cover; $17 with student ID. 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657. www.milescafe.com.

Mon 8/22: Marianne Solivan & Peter Bernstein at The Bar Next Door. 8:30pm & 10:30pm. $12 cover all night. 129 MacDougal St. 212-529-5945. www.lalanternacaffe.com.

Mon 8/22: Miles’ Café. Keith Middleton’s Soul Collective at 10:00pm. $19.99 cover; $17 with student ID. 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657. www.milescafe.com.

Tues 8/23-Sat 8/27: Richie Beirach Quintet at Birdland. 8:30pm & 11:00pm. 315 W. 44th St.

Tues 8/23: University of the Streets at Muham-mad Salahuddeen Memorial Jazz Theatre. Jason Rigby at 8:00pm. Slow Jam at 10:00pm. $10. 130 E. 7th St. (just west of Ave. A). 212-254-9300. www.universityofthestreets.org.

Tues 8/23: Miles’ Café. Jacob Melchior Trio at 8:30pm. $19.99 cover; $17 with student ID. 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657. www.milescafe.com.

Wed 8/24: Ted Kooshian Quartet at Tomi Jazz. 9:00pm. 239 E. 53rd St., lower level. 646-497-1254. www.tomijazz.com.

Wed 8/24: Miles’ Café. Chad McLoughlin Trio at 7:00pm. Matthew Fries Trio at 8:30pm. John Yao Quintetat 10:00pm. $19.99 cover; $17 with student ID. 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657. www.milescafe.com.

Wed 8/24: University of the Streets at Muham-mad Salahuddeen Memorial Jazz Theatre. Ras Moshe, David Arner, Max Johnson & Lou Grassi at 8:00pm. Phat Chance at 10:00pm. $10. 130 E. 7th St. (just west of Ave. A). 212-254-9300. www.universityofthestreets.org.

Thurs 8/25: U.S. Army Band from West Point at St. Peter’s Church. 12:30pm. Free. 619 Lexington Ave. @ 54th St. 212-242-2022. (Bet. 53rd & 54th St.) www.saintpeters.org.

Thurs 8/25: Nick Moran, Brad Whiteley & Chris Benham at The Bar Next Door. 8:30pm &

10:30pm. $12 cover all night. 129 MacDougal St. 212-529-5945. www.lalanternacaffe.com.

Thurs 8/25: Miles’ Café. Joey Berkley Quartet at 7:00pm. Carl Fischer Quintet at 8:30pm. Dan Willis at 10:00pm. $19.99 cover; $17 with student ID. 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657. www.milescafe.com.

Thurs 8/25: University of the Streets at Muham-mad Salahuddeen Memorial Jazz Theatre. Katie Bull Project at 8:00pm. $10. 130 E. 7th St. (just

w e s t o f A v e . A ) . 2 1 2 - 2 5 4 - 9 3 0 0 . www.universityofthestreets.org.

Fri 8/26: Rick Stone, Marco Panascia & Tom Pollard at The Bar Next Door. 7:30pm, 9:30pm & 11:30pm. $12 cover per set. 129 MacDougal St. 212-529-5945. www.lalanternacaffe.com.

Fri 8/26: Miles’ Café. Violette Quintet at 7:00pm. Chris Bakriges Trio at 8:30pm. Abe Ovadia at 10:00pm. $19.99 cover; $17 with student ID. 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657. www.milescafe.com.

Calendar of Events


Sat 8/27: Charlie Parker Jazz Festival at Marcus Garvey Park. From 3:00pm. With Toots Thiele-mans, James Carter, Tia Fuller and Cécile McLorin Salvant. Madison Ave., from E. 120th to E. 124th St. 212-360-2756. www.summerstage.org/charlie_parker_jazz_festival.html

Sat 8/27: Dmitry Baevsky, David Wong & Joe Strasser at The Bar Next Door. 7:30pm, 9:30pm & 11:30pm. $12 cover per set. 129 MacDougal St. 212-529-5945. www.lalanternacaffe.com.

Sat 8/27: University of the Streets at Muhammad Salahuddeen Memorial Jazz Theatre. Mark Dresser Trio at 8:00pm and 10:00pm. $15. 130 E. 7th St. (just west of Ave. A). 212-254-9300. www.universityofthestreets.org.

Sat 8/27: Miles’ Café. NY Jazz Academy Improv Workshop at noon. Hyungjin Choi at 7:00pm. Chris Bakriges Trio at 8:30pm. Camille Thurman Quartet at 10:00pm. $19.99 cover; $17 with student ID. 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657. www.milescafe.com.

Sun 8/28: Charlie Parker Jazz Festival at Tomp-kins Square Park. From 3:00pm. With Archie Shepp Quartet, Medeleine Peyroux, Ali Jackson & the Gerald Clayton Trio. Ave. A to B, E. 7th to E. 10th St. 212-360-2756. www.summerstage.org/charlie_parker_jazz_festival.html

Sun 8/28: Peter Mazza, Marco Panascia & Rogerio Boccato at The Bar Next Door. 8:30pm & 10:30pm. $12 cover all night. 129 MacDougal St. 212-529-5945. www.lalanternacaffe.com.

Sun 8/28: Vicki Burns Trio at North Square Lounge. 12:30pm & 2:00pm. No cover or min. 103 Waverly Pl. @ MacDougal. 212-254-1200. www.northsquarejazz.com.

Sun 8/28: University of the Streets at Muhammad Salahuddeen Memorial Jazz Theatre. 4th Annual Post Charlie Parker Festival Open Mic & Jam at 7:00pm. $10. 130 E. 7th St. (just west of Ave. A). 212-254-9300. www.universityofthestreets.org.

Mon 8/29: Mika Hary, Nir Felder & Sam Minae at The Bar Next Door. 8:30pm & 10:30pm. $12 cover all night. 129 MacDougal St. 212-529-5945. www.lalanternacaffe.com.

Mon 8/29: University of the Streets at Muham-mad Salahuddeen Memorial Jazz Theatre. Didrik Ingvaldsen at 8:00pm. Jen Shyu at 10:00pm. $10. 130 E. 7th St. (just west of Ave. A). 212-254-9300. www.universityofthestreets.org.

Tues 8/30: Miles’ Café. Yudai Ueki Quintet at 8:30pm. $19.99 cover; $17 with student ID. 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657. www.milescafe.com.

Tues 8/30: University of the Streets at Muham-mad Salahuddeen Memorial Jazz Theatre. Chris Stover at 8:00pm. Robinson/Moser/Johnson at 10:00pm. $10. 130 E. 7th St. (just west of Ave. A). 212-254-9300. www.universityofthestreets.org.

Tues 8/30-Sat 9/3: Gary Peacock, Marc Copland & Victor Lewis at Birdland. 8:30pm & 11:00pm. 315 W. 44th St. (Bet. 8th & 9th Ave.) 212-581-3080.

Wed 8/31: Asako Takasaki & Michael Kanan at Tomi Jazz. 8:30pm. $10 cover. 239 E. 53rd St., lower level. 646-497-1254. www.tomijazz.com.

Wed 8/31: Miles’ Café. NY Chieko Honda at 7:00pm. Ash && Jesse at 8:30pm. $19.99 cover;

$17 with student ID. 212 E. 52nd St., 3rd Fl. (Bet. 2 n d & 3 r d A v e . ) 2 1 2 - 3 7 1 - 7 6 5 7 . www.milescafe.com.

Wed 8/31: Jimmy Heath at Grant’s Tomb. 7:00pm. Free. Riverside Dr. & W. 122nd St. www.jazzmobile.org

BROOKLYN Mon 8/1: Tulivu Donna Cumberbatch at For My

Sweet. 1103 Fulton St. @ Claver Pl. 718-857-1427. Tues 8/2: Randy Weston at Brooklyn Bridge

Park. 7:00pm. Free. Pier 1, Harbor View Lawn, 42 Furman Ave. www.jazzmobile.org

Tues 8/2: Chris Cochrane at Barbés. 7:30pm. 376 9th St. @ 6th Ave. 347-422-0248. www.barbesbrooklyn.com.

Tues 8/2: Pete Robbins with Jacob Sacks, John Hebert & Dan Weiss at Korzo. 10:30pm. $10 suggested donation; 2-drink min. 667 5th Ave. (Bet. 19th & 20th St.) 718-285-9425. www.myspace.com/koncept ions . www.korzores tauran t .com. www.peterobbins.com

Wed 8/3, 8/10, 8/17, 8/24, 8/31: Walter Fis-chbacher Trio at Water Street Restaurant. 7 :00pm. No cover . 66 Wa te r S t . w w w . w a t e r s t r e e t r e s t a u r a n t . c o m . www.phishbacher.com

Wed 8/3: Ben Holmes Quartet at Barbés. 8:00pm. 376 9th St. @ 6th Ave. 347-422-0248. www.barbesbrooklyn.com.

Fri 8/5: Ethan Litpon Band at Barbés. 8:00pm. 376 9th St. @ 6th Ave. 347-422-0248. www.barbesbrooklyn.com.

Sun 8/7: Daniel Kelly Trio at Sycamore. 8:30pm. $10 donation. 1118 Cartelyou Rd. (Bet. Stratford & W e s t m i n s t e r ) 3 4 7 - 2 4 0 - 5 8 5 0 . w w w . s y c a m o r e b r o o k l y n . c o m . w w w . d a n i e l k e l l y m u s i c . c o m . h t t p : / /noahpreminger.com. www.robgarcia.com

Sun 8/7, 8/14, 8/21, 8/28: Ben Holmes Quartet at Barbés. 8:00pm. 376 9th St. @ 6th Ave. 347-422-0248. www.barbesbrooklyn.com.

Mon 8/8 & 15: Bilal Sunni Ali & Ras Chemas Lamed at For My Sweet. 1103 Fulton St. @ Claver Pl. 718-857-1427.

Wed 8/10: House of Illusion at Barbés. 8:00pm. 376 9th St. @ 6th Ave. 347-422-0248. www.barbesbrooklyn.com.

Sun 8/14: Noah Preminger, Masa Kamaguchi & Rob Garcia at Sycamore. 8:30pm. $10 donation. 1118 Cartelyou Rd. (Bet. Stratford & Westminster) 347-240-5850. www.sycamorebrooklyn.com

Tues 8/16: Jeff Davis, Justin Carroll & Ryan Keberle at Barbés. 7:00pm. 376 9th St. @ 6th Ave. 347-422-0248. www.barbesbrooklyn.com.

Wed 8/17: Dave King & Matt Mitchell at Barbés. 8:00pm. $10. 376 9th St. @ 6th Ave. 347-422-0248. www.barbesbrooklyn.com.

Sun 8/21: Particle Accelerator at Sycamore. 8:30pm. $10 donation. 1118 Cartelyou Rd. (Bet. Stratford & Westminster) 347-240-5850. www.sycamorebrooklyn.com

Mon 8/22: Eric Frazier & Danny Mixon at For My Sweet. 1103 Fulton St. @ Claver Pl. 718-857-1427.

Wed 8/24: Jerome Sabbagh Quartet at Barbés. 8:00pm. 376 9th St. @ 6th Ave. 347-422-0248. www.barbesbrooklyn.com.

Fri 8/26: Bucky Pizzarelli, Howard Alden & Jack Wilkins at Bargemusic. 8:00pm. “In Celebration of Bucky Pizzarelli’s 85th Birthday.” $25; $20 senior; $15 student. Fulton Ferry Landing, at the foot of the B r o o k l y n B r i d g e . 7 1 8 - 6 2 4 - 2 0 8 3 . www.bargemusic.org.

Sun 8/28: Matt Pavolka Band at Sycamore. 8:30pm. $10 donation. 1118 Cartelyou Rd. (Bet. Stratford & Westminster) 347-240-5850. www.sycamorebrooklyn.com

Mon 8/29: Brandon Sanders Quartet with Tia Fuller at For My Sweet. 1103 Fulton St. @ Claver Pl. 718-857-1427.

QUEENS Thurs 8/4: Cecil Bridgewater at Louis Armstrong

House. 7:00pm. Free. 34-56 107th St. www.jazzmobile.org

LONG ISLAND Sat 8/20: Apollo in the Hamptons at home of

Ronald Perelman. 8:00pm. With Ben E. King, Betye LaVette & Alicia Keys. Proceeds support Appollo year-round education programs. For infor-mation, contact Sharland Norris @ 212-531-5330. www.apollotheater.org

Sun 8/21: Chris Botti at Westhampton Beach Performing Arts Center. $125, $100, $75. 76 Main St. 631-288-1500. www.whbpac.org

NEW JERSEY Wed 8/3: Warren Vaché at Shanghai Jazz. 24

M a i n S t . , M a d i s o n . 9 7 3 - 8 2 2 - 2 8 9 9 . www.shanghaijazz.com.

Wed 8/3: Ralph Bowen Quartet at Hyatt. 7:30pm. 2 Albany St., New Brunswick. No cover. www.nbjp.org

Thurs 8/4: Mike Bond Quartet at Makeda. 7:30pm. 338 George St., New Brunswick. No cover, $5 min. www.nbjp.org

Thurs 8/4: Swingadelic at Rahway Train Station Plaza. 7:00pm. Free. Irving St. & Milton Ave., Rah-way. 732-499-0441. www.ucpac.org

Thurs 8/4: Harry Allen Trio with Rossano Spor-tiello at Shanghai Jazz. 24 Main St., Madison. 973-822-2899. www.shanghaijazz.com.

Fri 8/5: Hendrik Meurkens & Misha Tsiganov at Whole Foods Market. 7:00pm. No cover. 2245 Springfield Ave., Union. 908-688-1455. www.bossanovamusicproductions.com

Fri 8/5: Bernard Purdue with Rob Paparozzi at Trumpets. 6 Depot Sq., Montclair. 973-744-2600. www.trumpetsjazz.com. www.bernardpurdie.comj

Fri 8/5: Joshua Breakstone & Earl Sauls at Hibis-cus. 7:00pm. No cover. 270 South St., Morristown. 866-479-3638. www.hibiscusrestaurantnj.com

Sat 8/6: Emmet Cohen Trio at Shanghai Jazz. 24 M a i n S t . , M a d i s o n . 9 7 3 - 8 2 2 - 2 8 9 9 . www.shanghaijazz.com.

(Calendar Listings — Continued from page 27)


Sat 8/6: The JT Project at Ginger & Olive. 9:30pm. 120 Albany St., New Bruns-wick.

Sat 8/6: Ted Brown Trio at Trumpets. 8:00pm & 9:30pm. Lula Valdivia & Cecilia Alessandra from 11:00pm. 6 Depot Sq., Montclair. 973-744-2600. www.trumpetsjazz.com.

Sun 8/7: Mike Bono Quartet at Mike’s Courtside. 7:30pm. No cover. 1 Elm Row, New Brunswick. www.nbjp.org

Wed 8/10: Nicki Parrott & Warren Vaché at Shanghai Jazz. 24 Main St., Madison. 973-822-2899. www.shanghaijazz.com.

Wed 8/10: Pat Firth, Alex Gressel & Matt Kane at Hyatt. 7:30pm. 2 Albany St., New Brunswick. No cover. www.nbjp.org

Thurs 8/11: Joshua Breakstone & Earl Sauls at The Harvest Bistro. 8:30pm. No cover. 252 Schraalenburgh Rd., Closter. 201-750-9966. www.harvestbistro.com

Fri 8/12: Jerry Vivino at Shanghai Jazz. 24 Main St., Madison. 973-822-2899. www.shanghaijazz.com.

Fri 8/12: Dave Stryker & Vic Juris at Whole Foods Market. 7:00pm. No cover. 2 2 4 5 S p r i n g f i e l d A v e . , U n i o n . 9 0 8 - 6 8 8 - 1 4 5 5 . www.bossanovamusicproductions.com

Sat 8/13: Dave Stryker Trio at Shanghai Jazz. 24 Main St., Madison. 973-822-2899. www.shanghaijazz.com.

Wed 8/17: Stafford Hunter Quartet at Hyatt. 7:30pm. 2 Albany St., New Bruns-wick. No cover. www.nbjp.org

Wed 8/17: Nicki Parrott & Rossaoi Sportiello at Shanghai Jazz. 24 Main St., Madison. 973-822-2899. www.shanghaijazz.com.

Thurs 8/18: Buskin & Batteau at Rahway Train Station Plaza. 7:00pm. Free. Irving St. & Milton Ave., Rahway. 732-499-0441. www.ucpac.org

Thurs 8/18: Shirazette Tinnin Quartet at Makeda. 7:30pm. 338 George St., New Brunswick. No cover, $5 min. www.nbjp.org

Thurs 8/18: Joshua Breakstone, Earl Sauls & Noel Sagerman at The Salt Creek Grille. 7:00pm. 1 Rockingham Row., Princeton. www.saltcreekgrille.com

Fri 8/19: Tony DeSare Trio at Shanghai Jazz. 24 Main St., Madison. 973-822-2899. www.shanghaijazz.com.

Fri 8/19: Paul Abler & Harvie S at Whole Foods Market. 7:00pm. No cover. 2 2 4 5 S p r i n g f i e l d A v e . , U n i o n . 9 0 8 - 6 8 8 - 1 4 5 5 . www.bossanovamusicproductions.com

Sat 8/20: Herb Woodson Quartet at Shanghai Jazz. 24 Main St., Madison. 973-822-2899. www.shanghaijazz.com.

Sat 8/20: Marlene VerPlanck at Trumpets. 8:30pm & 10:30pm. 6 Depot Sq., Montclair. 973-744-2600. www.trumpetsjazz.com.

Wed 8/24: Vanessa Perea Band at Hyatt. 7:30pm. 2 Albany St., New Bruns-wick. No cover. www.nbjp.org

Wed 8/24: Rossano Sportiello at Shanghai Jazz. 24 Main St., Madison. 973-822-2899. www.shanghaijazz.com.

Thurs 8/25: Swingadelic at Sinatra Park. 7:00pm. Free. 525 Sinatra Dr., Hobo-ken. 201-420-2230.

Fri-Sat 8/26-27: Junior Mance Trio at Shanghai Jazz. 8:30pm. No cover. 24 Main St., Madison. 973-822-2899. www.shanghaijazz.com.

Fri 8/26: Roni Ben-Hur & Santi Debriano at Whole Foods Market. 7:00pm. No c o v e r . 2 2 4 5 S p r i n g f i e l d A v e . , U n i o n . 9 0 8 - 6 8 8 - 1 4 5 5 . www.bossanovamusicproductions.com

Wed 8/31: Bucky Pizzarelli at Shanghai Jazz. 24 Main St., Madison. 973-822-2899. www.shanghaijazz.com.

…AND BEYOND Fri-Sun 8/5-8/7: 57th Annual Newport Jazz Festival. With Michael Feinstein,

Joe Negri, Wynton Marsalis, Esperanza Spalding, Eddie Palmieri, Al Di Meola, Michel Camilo, Hiromi, Trombone Shorty, Regina Carter, Steve Coleman, Joey DeFrancesco, Grace Kelly, Phil Woods, Ambrose Akin-musire, Mostly Other People Do the Killing, New Black Eagle Jazz Band, Joshua Redman, Aaron Parks, Matt Penman & Eric Harland, Angelique Kidjo, Anthony Jackson, Charles Lloyd, Zakir Hussain, Mingus Big Band, Ravi Coltrane, Randy Weston, Miguel Zenon, John Hollenbeck, Uri Caine,


Calendar of Events



Calendar of Events

AUG

Blue Note 131 W Third St. (east of 6th Ave)

212-475-8592 www.bluenote.net

Cleopatra’s Needle 2485 Broadway

(betw. 92nd & 93rd St.) 212-769-6969

Cornelia St. Café 29 Cornelia St.

(bet. W 4th & Bleecker) 212-989-9319

corneliastreetcafe.com

Deer Head Inn 5 Main Street

Delaware Water Gap, PA 18327

www.deerheadinn.com

1 - Mon Eric Person Roger Lent Jam Jon Irabagon & Barry Altschul; Mostly Other People Do the Killing

2 - Tue McCoy Tyner 4 with Ravi Coltrane

Robert Rucker Jam Russ Lossing 3

3 - Wed Mike Cottone 5; McCoy Tyner 4 with Ravi Coltrane

Les Kurtz 3 SIM Faculty Conceart

4 - Thu McCoy Tyner 4 with Ravi Coltrane

Burt Eckoff 3 Fugu

5 - Fri Meshell Ndegeocelo Mamiko Watanabe 4 Duane Eubanks 5 Dave Liebman Master Class

6 - Sat Meshell Ndegeocelo; Mauricio Zottarelli

Donald Malloy 4 Ellery Eskelin 3 Five Play

7 - Sun Rich Perry 3 Toru Dodo Jam Alon Nechuhstan 4 Jay Rattman

8 - Mon Scrapomatic Roger Lent Jam Christopher Tordini 5; Aidan Carroll 3

9 - Tue Jane Monheit & Mark O'Connor

Robert Rucker Jam Clarice Assad 2

10 - Wed Jane Monheit & Mark O'Connor

Les Kurtz 3 Adriano Santos 4 Trivia Tapas & $2 Drafts

11 - Thu Jane Monheit & Mark O'Connor

Ray Parker 3 Brooklyn Brazil Bop Bill Goodwin Jazz Jam

12 - Fri Jane Monheit & Mark O'Connor; Jim Black

Masami Ishikawa 4 Seung-Hee 5 Brian Lynch/Herve Sellin 4

13 - Sat Jane Monheit & Mark O'Con-nor; Live Tropical Fish

Stachmo Mannan 4 Tammy Scheaffer 6 Urbie Green 4

14 - Sun Fatum Brothers Band; Jane Monheit & Mark O'Connor

Toru Dodo Jam Stephanie Carlin 4; Talia Billig 4

Bill Charlap

15 - Mon Jerry Gonzalez & Fort Apache Band

Roger Lent Jam Sangeeth Utsav: Prasant Radhakrishnan; Vidya

16 - Tue Christian McBride & Dee Dee Bridgewater

Robert Rucker Jam Sangeeth Utsav: Ash-vinBhogendra

17 - Wed Christian McBride & Dee Dee Bridgewater

Les Kurtz 3 Sangeeth Utsav: Karavika Trivia Tapas & $2 Drafts

18 - Thu Christian McBride & Dee Dee Bridgewater

Michika Fukumari 3 Sangeeth Utsav: Arun Ramamurthy 4

Bill Goodwin Jazz Jam

19 - Fri Christian McBride & Dee Dee Bridgewater; John Ellis & Gerald Clayton

Evan Schwamm 4 Misha Piatigorsky 3

20 - Sat Christian McBride & Dee Dee Bridgewater; JuiceBox

Richard Benetar 4 Mimi Jones Band George Young 4

21 - Sun Noriko Ueda Band; Christian McBride, Dee Dee Bridgewater

Toru Dodo Jam Jerome Kuderna Dan Wilkins 4

22 - Mon Patty Ascher Roger Lent Jam Willaim Komaiko & Dick Sarpola

23 - Tue Jon Faddis 4 Robert Rucker Jam Jung Lin & Jed Distler

24 - Wed Jon Faddis 4 Les Kurtz 3 Laura Cortese & Jefferson Hamer

Trivia Tapas & $2 Drafts

25 - Thu Jon Faddis 4 Justin Lees 3 Anais Mitchell Bill Goodwin Jazz Jam

26 - Fri Jon Faddis 4 Rudi Mwongogi 4 Michael Davis 3 Klaro

27 - Sat Jon Faddis 4; EMEFE Champian Fulton 4 Jeff Davis 3 Dave Liebman 4

28 - Sun Kobi Arad Band; Jon Faddis 4

Toru Dodo Jam Washington Square Winds

29 - Mon Gordon Chambers Roger Lent Jam Melody Fader 3

30 - Tue Jean-Michel Pilc/Francois Moutin/Ari Hoenig

Robert Rucker Jam Emily Elizabeth 2

31 - Wed Jean-Michel Pilc/Francois Moutin/Ari Hoenig

Duane Eubanks 5 Trivia Tapas & $2 Drafts


AUG

Dizzy’s Club Coca Cola

B’dwy &t 60th, 5th Fl. 212-258-9595

jazzatlincolncen-ter.com/dccc

Dizzy’s Club After Hours

Broadway & 60th, 5th Fl

212-258-9595 jazzatlincolncenter.com

Feinstein’s at Lowes Regency

540 Park Ave. 212-339-8942

feinsteinsattheregency.com

Garage 99 7th Ave. S (at Grove St.) 212-645-0600

www.garagerest.com

1 - Mon Etienne Charles & Kaiso

Harry Allen Howard Williams Band; Ben Cliness 3

2 - Tue Rufus Reid 4 Yard Byard: Music of Jaki Byard

Elizabeth Tryon Valery Ponomarev Band; Justin Lees 3

3 - Wed Cedar Walton 4 Yard Byard: Music of Jaki Byard

Jimmy Webb Marc Devine 3; Randy Johnston 3

4 - Thu Cedar Walton 4 Yard Byard: Music of Jaki Byard

Jimmy Webb Michika Fukumori 3; Alex Stein/Matt Brown 4

5 - Fri Cedar Walton 4 Yard Byard: Music of Jaki Byard

Clayton Bryant Hide Tanaka 3; Kevin Dorn Band

6 - Sat Cedar Walton 4 Yard Byard: Music of Jaki Byard

Laura Taylor Larry Newcomb 3; Evgeny Lebedev

7 - Sun Cedar Walton 4 Vivan Sessoms Elli Fordyce; David Coss; Mauricio DeSouza

8 - Mon Bobby Broom 3 Jararod Spector Howard Williams Band; Mayu Saeki 4

9 - Tue Cedar Walton 5 Ed Cherry 3 Rebecca Kilgore Eyal Vilner Band; Paul Francis 3

10 - Wed Cedar Walton 5 Ed Cherry 3 John Malino; Rebecca Kilgore

Ben Gillece; Hot House

11 - Thu Cedar Walton 5 Ed Cherry 3 Rebecca Kilgore Dave Kain Band; Dylan Meek 3

12 - Fri Cedar Walton 5 Ed Cherry 3 Rebecca Kilgore Evan Schwam 4; Jean Caze 3

13 - Sat Cedar Walton 5 Ed Cherry 3 Rebecca Kilgore Daniela Scheachter; Champian Fulton 3; Akiko Tsuruga 3

14 - Sun Cedar Walton 5 Vickie Natale Joonsam Lee 3

15 - Mon Derrick Gardner 6 Annie Kozuch; Peter Mintun

Howard Williams Band; Kenny Shanker 4

16 - Tue Music of Antonio Carlos Jobim & Stan Getz

Kenny Shanker 4 Elizabeth Tryon Lou Caputo Band; Joe Saylor

17 - Wed Music of Antonio Carlos Jobim & Stan Getz

Kenny Shanker 4 Janet Planet Bernal/Eckroth/Ennis; Beck Burger 3

18 - Thu Music of Antonio Carlos Jobim & Stan Getz

Michael Rodriguez 3 Janet Planet Rick Stone 3; Ryan Anselmi 5

19 - Fri Music of Antonio Carlos Jobim & Stan Getz

Michael Rodriguez 3 Carmen Jon & Bill Gulino

Austin Walker 3; Dre Barnes

20 - Sat Music of Antonio Carlos Jobim & Stan Getz

Michael Rodriguez 3 Connie James Larry Newcomb 3; Kyoko Oyobe 3; Joey Morant 3

21 - Sun Music of Antonio Carlos Jobim & Stan Getz

Gene Santini David Coss 3; Joel Perry 3

22 - Mon Nicole Henry Glory Crampton Howard Williams Band; Masami Ishikawa 3

23 - Tue Music of Antonio Carlos Jobim & Stan Getz

Laura Ann Boyd Diane Leslie Cecelia Coleman Band; Aaron Burnett 4

24 - Wed Music of Antonio Carlos Jobim & Stan Getz

Laura Ann Boyd Christopher Macchio & George Pettigano

Le Pompe Attack; Anderson Brothers

25 - Thu Music of Antonio Carlos Jobim & Stan Getz

Laura Ann Boyd Connie James Champian Fulton 3; Alan Chaubert 3

26 - Fri Music of Antonio Carlos Jobim & Stan Getz

Laura Ann Boyd Taihisha Grant Enoch Smith Jr. 3; Tim Price & Ryan Anselmi

27 - Sat Music of Antonio Carlos Jobim & Stan Getz

Laura Ann Boyd Diane Leslie Marsha Heydt; Andrew Atkinson; Virginia Mayhew

28 - Sun Music of Antonio Carlos Jobim & Stan Getz

Corinna Sowers Adler David Coss 3; Ryan Anselmi 5

29 - Mon Doug Carn & Jean Carn

Broadway Live Howard Williams Band; Neuva Encarnacion

30 - Tue Doug Carn & Jean Carn

Nabate Isles 4 Jenna Esposito Big Beat 4

Iridium 1650 Broadway (below

51st St.) 212-582-2121

iridiumjazzclub.com

Oz Noy & Vic Juris with Kirk Whalum

Brooklyn Big Band

Ed Palermo Band

Nicholas Payton Band



Brad Zimmerman; Robben Ford

Robben Ford

Norm Hathaway Band

Ralph Peterson Fo'tet & Tia Fuller

Rez Abbasi 4

Les Paul 3

Steve Stevens

Aaron Morishita; Kat Gang & Nat eMayland 4

Lo Faber & Aaron Maxwell

Lucky Peterson

Lucky Peterson

Lucky Peterson

John Lee Hooker Jr.

Albert Lee & John Jorgenson

Albert Lee & John Jorgenson

Nicki Parrott & Allan Harris

Alex Skolnick 3

John Abercrombie 3

John Abercrombie 3

John Abercrombie 3

Terese Genecco Band

31 - Wed Dion Parson Band Nabate Isles 4 Lights Out Nick Moran 3; Josh Lawrence 3

Matt Savage

Avishai Cohen, Anat Cohen, Rudresh Mahan-thappa & Bunky Green, Brubeck Brothers and Berklee College of Music All Stars. Fri: Tennis Hall of Fame, 194 Bellevue Ave. Sat & Sun: Fort Adams State Park, Harrison Ave., Newport, RI. T ickets @ 23 Amer ica ’s Cup Ave. www.newportfestivalsfoundation.org

Fri-Sun 8/5-8/7: Scranton Jazz Festival. With Mu-sic for Models, WAR, John Andrews, Wayne Smith, Tyler Dempsey, Siora, Jim Buckley, Spencer & Nancy Reed, Joe Michaels, Marko Marcinko, Gary Rissmiller, Donna Antanow, Dave Wilson, Eric Mintel, Steve Ruddolph, Nate Birkey, Teddy Young Gun, Roamin Gabriels, Matt Bennet, Jazz Juice, North Pocono Steel Band, Dixieland All-Stars, Al & Zoot Tribute Band, Zack Brock Trio, Bob Dorough, Royal Scam, Jazz Vespers, Keystone Jazz Institute Student Com-bos, Festival All Stars with Andy LaVerne & Gary Keller, The Four Freshmen, Festival Big Band. Lackawanna Station Hotel, Scranton, PA. 570-4873954. http://scrantonjazzfestival.org

Sat 8/6: Don Byron’s Ivey-Divey Trio at Maverick Concert Hall. 8:00pm. 120 Maverick Rd., Wood-s t o c k , N Y . 8 4 5 - 6 7 9 - 8 2 1 7 . www.maverickconcerts.org

Fri 8/12: Omar Tamez Trio at The Buttonwood Tree Performing Arts & Cultural Center. 8:00pm. $10. 605 Main St., Middletown, CT. 860-347-4957. www.buttonwood.org.

Sat 8/13: Bill Charlap at Maverick Concert Hall. 8:00pm. 120 Maverick Rd., Woodstock, NY. 845-679-8217. www.maverickconcerts.org

Thurs 8/18: E.J. Strickland with Jaleel Shaw, Mar-cus Strickland, Luis Perdomo & Joe Sanders at The Falcon. 7:00pm. 1348 Rt. 9W, Marlboro, NY. www.liveatthefalcon.com

Thurs-Sun 8/18-8/21: Warwick Valley Jazz Festi-val. With David Crone Trio, NY Swing Exchange, Skye Jazz Quintet, Chris Persad Group, Richard Kimball, Ray Barretto Band, Warwick Jazz All-stars, Michael P urchell Quartet, Rick Savage 4Tet, John Ehlis, 3D Ritmo De Vida and Jeff Ciampa, Mark Egan, Joel Rosenblatt & Billy Drewes. Various venues in Warwick, NY. 917-903-4380. www.warwickvalleyjazzfest.com

Thurs 8/18: Yard Byard: The Jaki Byard Project at Levitt Pavilion for the Performing Arts. 8:00pm. 40 Jesup Rd., Westport, CT. 866-973-9612, ext 3. www.levittpavilion.com.

Sat 8/20: Greg Osby at The Falcon. 7:00pm. 1348 Rt. 9W, Marlboro, NY. www.liveatthefalcon.com

Sat 8/20: Uri Caine at Maverick Concert Hall. 8:00pm. 120 Maverick Rd., Woodstock, NY. 845-679-8217. www.maverickconcerts.org

Fri 8/26: Bernard Purdie & The Hudson River Rats at The Falcon. 8:00pm. 1348 Rt. 9W, Marl-boro, NY. www.liveatthefalcon.com

Sat 8/27: Eric Harland, Julian Lage & Taylor Eig-sti at The Falcon. 7:00pm. 1348 Rt. 9W, Marlboro, NY. www.liveatthefalcon.com

Sun 8/28: Brad Mehldau & Mark Guiliana at The Falcon. 7:00pm. 1348 Rt. 9W, Marlboro, NY. www.liveatthefalcon.com

Sun 8/28: Jane Stuart & Reflections Big Band at Finkelstein Library. 7:00pm. 24 Chestnut St., Spring Valley, NY. www.janestuartmusic.com

(Eckemoff — Continued from page 29)


Calendar of Events

AUG

Jazz Gallery 290 Hudson St.

(below Spring St.) 212-242-1063

www.jazzgallery.org

Jazz Standard 116 E 27th St 212-576-2232

www.jazzstandard.net

Kitano 66 Park Avenue(at

38th St.) 212-885-7119

www.kitano.com

Lenox Lounge 288 Lenox Avenue (above 124th St.)

212-427-0253 www.lenoxlounge.com

1 - Mon Mingus Big Band Open Jam Session Miles Griffith; Greg Bandy

2 - Tue Robert Hurst 4 Kyoko Oyobe Anthony Nelson; Bill Saxtom

3 - Wed Robert Hurst 4 Nancy Valentine 5 Lafayette Harris Jr.

4 - Thu Dr. Lonnie Smith 9 Susie Meissner 5 Patience Higgins 4

5 - Fri Sam Harris 3 Dr. Lonnie Smith 9 Fred Hersch & Nico Gori

Sweet Georgia Brown

6 - Sat Greg Ward 3 Dr. Lonnie Smith 9 Fred Hersch & Nico Gori

Nate Lucas 3

7 - Sun Dr. Lonnie Smith 9 Tony Middleton 3 Fred McFarlane

8 - Mon Walter Smith III 4 Mingus Big Band Open Jam Session Alex Lane; Greg Bandy

9 - Tue Maurice Brown 5 Kyoko Oyobe Richie Fels 4; Bill Saxtom

10 - Wed SIM Faculty Band Vol. 2 Maurice Brown 5 Kelley Suttenfield Band

Lafayette Harris Jr.

11 - Thu Carla Cook 5 Bill Cantrall 5 Patience Higgins 4

12 - Fri Adam Rogers 3 Carla Cook 5 Ted Nash 4 Sweet Georgia Brown

13 - Sat Lage Lund 4 Carla Cook 5 Ted Nash 4 Nate Lucas 3

14 - Sun Carla Cook 5 Tony Middleton 3 Fred McFarlane

15 - Mon Mingus Orchestra Open Jam Session Carl Bartlett Jr. 4; Greg Bandy

16 - Tue Manual Valera 5 Kyoko Oyobe Dylan Meek 3; Bill Saxtom

17 - Wed Aaron Goldberg & Guillermo Klein 5

Lynette Washington 4 Lafayette Harris Jr.

18 - Thu Aaron Goldberg & Guillermo Klein 5

Ayako Shirasaki 3 Eric Wyatt Jam

19 - Fri Chris Morrissey 5 Aaron Goldberg & Guillermo Klein 5

George Cables 3 Sweet Georgia Brown

20 - Sat Aaron Goldberg & Guillermo Klein 5

George Cables 3 Nate Lucas 3

21 - Sun Aaron Goldberg & Guillermo Klein 5

Tony Middleton 3 Fred McFarlane

22 - Mon Mingus Big Band Open Jam Session Lafayette Harris; Greg Bandy

23 - Tue Edmar Castaneda 3 & Andrea Tierra

Kyoko Oyobe Tori Gee; Bill Saxtom

24 - Wed Edmar Castaneda 3 & Andrea Tierra

Takako Ines Asahina 3

Lafayette Harris Jr.

25 - Thu Cyrus Chestnut 3 Brandon Wright 4 Eric Wyatt Jam

26 - Fri Cyrus Chestnut 3 Mark Murphy 3 Sweet Georgia Brown

27 - Sat Cyrus Chestnut 3 Mark Murphy 3 Nate Lucas 3

28 - Sun Cyrus Chestnut 3 Tony Middleton 3 Fred McFarlane

29 - Mon Mingus Big Band Open Jam Session Danny Mixon 4; Greg Bandy

30 - Tue Ron Carter Band Kyoko Oyobe Danny Mixon 4; Bill Saxtom

Puppets Jazz Bar 481 5th Ave., Park

Slope 718-499-2622

www.puppetsjazz.com

Jam Session with John McNeil & Mjike Fahie

Gabriel Reyes; Jam Session with Boris Kozlov

John Marshall 4

Dave Zollar 3; Jaime Aff Band

Gary Brocks Band; Alex Blake 4


Arturo O'Farrill; Jim Seeley 3

Britton Brothers

Nadina Mauri Band; Arturo O'Farrill 4; Stan Killian 5

Alphabet Soup; Arturo O'Farrill 4

Zack O'Farrill 4; Franglais Gypsy Jazz


Jam Session

Philip Dizack Band

Josh Levinson 6

Bill Ware Band; Bob Albanese 4

Martina DaSilva/Josh Holcomb 5; Bill Ware Band; Ralph Hamperian

Howard Britz Band

Nicole Zuraitis Band; John McNeil/Mike Fahie Jam Session

Rafal Sarneski 5; Jam Session

Arturo O'Farrill; John McNeil Band

Nataliya Z; Michael Palma & Melissa Aldana 4; Stan Killian Band

Fundraiser; Alphabet Soup; Yakoov Mayman; John McNeil; Ayako Shirasaki 3; Arturo O'Farrill 4; Randy Johns-ton 3; Dredd Scott 3

Fundraiser; Meg Ceol; Lena Bloch; Bob Al-banese 3; Onaje Allan Gumbs; Alex Blake 4; Roberto Poveda

Zack O'Farrill 4

Jason Goldstein Band; Jam Session with John McNeil & Mike Fahie

31 - Wed Ron Carter Band Carl Bartlett Jr. 4 Jam Session


feel comfortable, only throwing in direction when it was needed. I played with him with a small group in 1984 at the Rainbow Room, for the Rainbow Room’s 50th anniversary when they featured some of the legendary bandleaders for a month apiece. We had four weeks with Woody, Scott Hamilton, Warren Vache, trum-peter George Rabbi, John Bunch, George Du-vivier, Jake Hanna, myself and singer Polly Po-dewell. Since Woody didn’t normally use guitar in his big band, it was a rare opportunity to get to play with him and watch him lead a band - thanks to Jake Hanna for referring me! Woody knew how to encourage the players, provide just the right amount of direction, deal with the audi-ence and the management - a real pro and a real gentleman. JI: What jazz artist or recording that you heard first or early on, provided was the spark for your inspiration to take this creative path? HA: I’d have to say that the records - 45s- I heard when I was six years old really captivated me. There was one of the Count Basie rhythm section and a couple of Benny Goodman small groups. They really planted the seed, and when I was ten or eleven and had started playing the four string guitar and banjo, I sought out more of that type of music. JI: How do your activities as a clinician impact your artistry? HA: The questions that students present always make me re-examine my playing, both from a technical - guitaristic and musical / harmonic / melodic - and aesthetic viewpoint. I always come away from a lesson or a clinic/workshop having learned something myself, and having found a better, more useful way of explaining it. Howard Roberts said years ago - he may have been quoting someone else, but it seems truer as the years go on - that there is no such thing as teaching, only learning. JI: What are your thoughts on the following perspective of philosopher Eric Hoffer and how it relates to the world of jazz on the creative and business sides? “In a world of change, the learn-ers shall inherit the earth, while the learned shall find themselves perfectly suited for a world that no longer exists.” HA: That makes a lot of sense! Since nothing is ever static and circumstances are always chang-ing, one needs to be able to accept, learn and utilize new approaches to the business side of your work as well as the creative side, and to try to be as creative with the business as the music. Rather than bemoaning the loss of old business models that we’ve become used to, try to create new ways of presenting your music. It is a con-stant challenge.

AUG

Shrine 2271 Adam Clayton

Powell Blvd. 212-690-7807

www.shrinenyc.com

Smalls 183 W. 10th

212-252-5091 smallsjazzclub.com

The Stone Ave. C & Second St.

thestonenyc.com

Village Vanguard 178 Seventh Ave. S (below W 11th St.)

212-255-4037 villagevanguard.net

1 - Mon Amber Ross; Mitch Perrins; Geraldine

Davy Mooney; Joel Frahm; Spencer Murphy

Karl Berger Band Vanguard Jazz Or-chestra

2 - Tue Quentin Angus 4; Scott Paul; Boombits

Barbara Rosene & Jesse Gelber; Shai Maestro 3; Ken Fowser, Behn Gillece

Don Dietrich & C. Spencer Yeh; Yellow Tears

Barry Harris 3

3 - Wed Matt Grossman; Manhat-tan Nocturne; Overcast

L. Harris 2; Jill McCarron 3; Anthonhy Wonsey 3

Alan Licht; Samara Lubelski & Marcia Bassett

Barry Harris 3

4 - Thu Ascetic Junkies; Big Bowl of Soul

Abigail Riccards 2; Brian Charette 6; Carlos Abadie

Okkyung Lee & Carlos Giffoni; Laurel Halo

Barry Harris 3

5 - Fri Rootsetters; R-Tronika; Hard Times

Jam; Randy Johnston 3; Pete Malinverni

Mike Shiflet; Metalux Barry Harris 3

6 - Sat Edwin Vasquez; Junior & Unity and; On Ka'a Davis

Steve Slagle 4; Pete Malinverni 5; Eric Wyatt

Spectre Folk; FORMA Barry Harris 3

7 - Sun Jazz Jam; Matthew Mcdonald; Justin Rothberg 3; Itai Kriss

Michela Lerman; Marion Cowings; Ned Goold 4; Johnny O'Neal

White Out; Joachim Nordwall

Barry Harris 3

8 - Mon Rainbow Children; Joe Abba

Adam Birmbaum; Ari Hoenig; Spencer Murphy


9 - Tue Joseph Kiernan; Pablo Masis; Catherine Holder; Imagination

Nancy Valentine 2; Matthew Fries 3; Ken Fowser & Behn Gillece

Nancy Garcia; John Blum & Weasel Walter

Greg Osby 5

10 - Wed Alistair Sim 3; Ex Spin Doctor Ross Byron

Jam Session; Gene Bertoncini; Todd Herbert 4; Craig Wuepper 3

Sickness; Sarah Lipstate

Greg Osby 5

11 - Thu Sidleys; Tedd & the Hazards; Black Tie Affair; Losing You to Tottoos

Jam Session; Ehud Asherie; J.D. Allen 4; Josh Evans

Chris Corsano; Mark Morgan & Brian Sullivan

Greg Osby 5

12 - Fri Dannie Switch Blade; Andrea Capozzoli; Big Takeover

Jam Session; Aidan Carroll 4; John Marshall 5; Spike Wilner 3

Ikuke Mori; Rat Bas-tard

Greg Osby 5

13 - Sat Gregory Boyd; Sinner Man; Lick It Ticket

Chris Massey; Dwayne Clemons 5; John Marshall 5; Brooklyn Circle

Oneohtrix Point Never; Nautical Almanac

Greg Osby 5

14 - Sun Jazz Jam Session; Rodrigo Bonelli

Ruth Brisbane & Jon Roche 3; Johnny O'Neal

Maya Miller & Mike Bernstein; C. Spencer Yeh & Meg Clixby

Greg Osby 5

15 - Mon The Gathering Peter Bernstein; Ari Hoenig; Spencer Murphy

FUKUSHIMA Benefit Concerts

Vanguard Jazz Or-chestra

16 - Tue Ross Garlow Marianne Solivan 2; Sarah Jane Cion 3

John Zorn Jenny Scheinman 4

17 - Wed Holger Scheidt 4; Khaled

Mike Kanan & Pete Bernstaein; Sean Nowell

Fieldwork Jenny Scheinman 4

18 - Thu Moth to Flame; Boy Wonder

Spike Wilner; Stafford Hunter 5; Carlos Abadie 5

Fieldwork Jenny Scheinman 4

19 - Fri World Funk Fest Outlaw collective; Kevin Hays; Lasrence Leathers

Steve Coleman Jenny Scheinman 4

20 - Sat Tiken Jah Fakoly; Brother Num; Gold Magnolias; Selrouba

David Weiss 5; Kevin Hays 4; Ian H-Smith

Liberty Ellman 5 Jenny Scheinman 4

21 - Sun Jazz Jam Session; JQ 3; Federico Ughi 3

Jon Roche 3; Grant Stewart 4; Johnny O'Neal

Steve Coleman Jenny Scheinman 4

22 - Mon Dida Pelled; Dwayne Burno 5; Spencer Murphy


23 - Tue Vanessa Diaz Laura Brunner 2; Peter Zak 3; Alex Hoffman

Steve Lehman 3; Rafiq Bhatia 5

JD Allen 3

24 - Wed Maria Davis Mike Hashim & Spike Wilner; Rob Garcia 4

Steve Lehman 3; Michiana for Saxophone Alone

JD Allen 3

25 - Thu Cedric Wilson; Shoot the Messenger

Ehud Asherie; Shimrit Shoshan 3; Josh Evans

Chris Dingman 3; Mark Dresser

JD Allen 3

26 - Fri Ted Hefko; Groove Shoes Funk Orchestra

Ralph Lalama 3; Otis Brown III; Spike Wilner 3

Amir ElSaffar 5; Shahzad Ismaily 3

JD Allen 3

27 - Sat Pocket; Brave New Girl; Zozoafrobeat

Nick Hempton 4; Otis Brown III; Brooklyn Circle

John Zorn JD Allen 3

28 - Sun Jazz Jam Session; Natty Dreadz

Bucky Pizzarelli & Ed Laub; Joe Magnarelli 4

David Virelles Contin-uum; Amir ElSaffar 5

JD Allen 3

29 - Mon The Rendezvous David Berkman; Ari Hoenig; Spencer Murphy


30 - Tue Federico Brashi Yaala Ballin 2; Noah Haidu 3; Ken Fowser

Ches Smith 4; Shahzad Ismaily

Paul Motian 3

Zinc Bar 82 W. 3rd St. 212-477-ZINC

www.zincbar.com

Marianne Solivan; Felix Pastorius; Ron Affif 3

NY Youth Orchestra; ORourkestra Open Mic for Vocalists; Gregorio Uribe Band

Abdoulaye Diabate

Marianni

Cidinho Teixeira

Joelle Lurie; Felix Pastorius; Ron Affif 3

Vanderlei Pereira

Lawrence Clark 4

Open Mic for Vocalists

Kaissa

Marianni

Cidinho Teixeira

Aimee Allen; Felix Pastorius; Ron Affif 3

Helio Alves 4

Jazz Funk Worldbeat 4; Choro Ensemble


Kofo

Marianni

Cidinho Teixeira

Emily Braden; Felix Pastorius; Ron Affif 3

Choro Ensemble

Band of Bones


Martino Atangana

Marianni

Cidinho Teixeira

Nancy Harms, Felix Pastorius; Ron Affif 3

31 - Wed Jimmy Bruno; Sean Smith 4; Jeremy Manasia 3

Jen Shyu; Tyshawn Sorey

Paul Motian 3 Sandro Albert 4

(Alden — continued from page 34)


JI: What was it that initially attracted you to guitarists such as Barney Kessel, Charlie Chris-tian, Django Reinhardt and George Van Eps whose styles are associated with swing and more traditional stylistic approaches? HA: I first heard all of those guitarists when I was 13, and I just loved the sound, the melodic development, the rhythmic intensity and swing-I really didn’t think about what style they were identified with at the time. As the years went on I heard and learned about more music and jazz stylistic development. But when I go back and listen to those players, I hear the enduring quali-ties that I appreciate and enjoy more and more every time, and an honesty and sincerity seems to always be there. JI: Could you talk about melody and thematic ideas in the development of your improvised solos? HA: I do always try to find melodic units or motifs that I can develop, and if I’m playing a tune I do tend to refer back to the melody, or use it as a “cantus firmus”. There are so many differ-ent things going on however. I love harmonic variations and will use a phrase just because I like to elaborate on the harmony, and I like to

refer to other phrases or licks frequently. Who I’m playing with affects the way I play and brings out different aspects. I love to engage in musical dialogue with a lot of different players for that reason. A couple of my favorite duo partners are Anat Cohen and Jack Wilkins; it’s always an adventure with each of them and I know that each of them bring things out of me that wouldn’t ordinarily, and I think I do the same for them. Anat and I are recording a new duo project right now, and Jack and I are also making plans to record soon. JI: Talk about the opportunity you had with Red Norvo and how that may have opened doors for you or how you may have grown as a result? HA: It was an incredible opportunity to get to play with and know Red Norvo in 1979. His long-time friend, singer Mavis Rivers, heard me sitting in with Page Cavanaugh at the short-lived Jerry Van Dyke’s Supper Club in Encino, CA, and several months later I got a call from Red while I was teaching at Howard Roberts’ GIT [Guitar Institute of Technology] asking me to

play with him in Atlantic City for the summer. It goes to show, once again, that you never know who’s listening, and what it might lead to. Red was one of my most important mentors. I had known about him from his recordings with his trio with Tal Farlow and Charles Mingus, and heard bits and pieces of various other groups he’d recorded with. His approach to music was so timeless. His career encom-passed almost the entire history of jazz, from his early vaudeville days, Bix Beiderbecke, Paul Whiteman, the swing era, Benny Goodman, his small big band with Mildred Bailey, the re-cordings with Charlie Parker and Dizzy, his trios and smaller chamber-like groups in the 1950’s and ‘60’s-I could go on and on... When I was play-ing with him in Atlantic City with the trio line-up of vibes, guitar and bass - he’d be constantly checking out new tunes to play, and encouraging me to create set-tings on the spot. He’d suggest a counterpoint or bass line and leave it to me to find the best solu-tion. He made a point of making every note mat-ter, whether in solo or accompaniment, and made everyone be responsible for the rhythmic

pulse and swing. So it was an amazing growth experience. He set higher standards of perform-ance than I had ever been subjected to before. I remember him working out four-mallet versions of some Chick Corea tunes, as well as re-arranging Bix Beiderbecke piano pieces, Duke Ellington - it was his version of “Dancers in Love” that motivated me to work it out on guitar - and continually re-examining tunes from the American songbook. JI: What kinds of ideas did you pick up - about performing, leadership and or business - from the following artists with whom you worked: Joe Bushkin, Ruby Braff, Joe Williams, Warren Vache` and Woody Herman? HA: Joe Bushkin was a joy to behold-he was an incredibly charismatic pianist, and also his love for the music was so evident. He could light up a room just by walking in. Looking back, he seemed to have some of the spark the Louis Armstrong had(and he always spoke glowingly

of Louis). Ruby was another of my greatest men-tors, and had so many words of wisdom about music and performing. He was a consummate performer, and even though he had a reputation for being outspoken, irascible, etc., he never took it on the stage with him. He always made players feel comfortable and seemed to bring out their best when they played with him. If he had anything to say, it would happen off stage - unlike some musicians/leaders who seemed to relish humiliating players on stage. He was a master of on-the-spot direction. He could take 8 guys who had never played together, and if they paid attention and followed his cues, make it sound like they’d been on the road for weeks. Joe Williams was also a great model as a bandleader/performer. He was always relaxed on stage, and brought out the best in his musicians. I started playing with him in 1983 after he heard me playing at Eddie Condon’s, and asked me to join his trio the next night. Once again, you never know who’s listening! We had no re-hearsal, maybe a short talk-through before the first set. I remember the second night he quietly turned to me and asked me if I knew “Little Girl Blue”, I nodded, and he said “just you and me on the verse”. Having had some experience with singers, I asked “What key?” He said “It doesn’t matter, I sing in all twelve of them!” So I hit a chord, and he was right there - no problem find-ing his note, range, etc. Every once in a while he would make a suggestion - always a good one. But he had a knack of letting everybody find their own way and contribute their own voice. He was such a masterful singer/musician that nothing would ever throw him anyway. Woody Herman was another one who knew how to get the most out of his musicians and make them


Interview

Howard Alden Interview by Eric Nemeyer

“[Ruby Braff] was a master of on-the-spot direction. He could take 8 guys who had never played together, and if they

paid attention and followed his cues, make it sound like they’d been on the road for weeks.”

www.howardalden.com


JI: What inspired you to pursue a career in jazz? YE: As a classically trained and academically schooled musician, I have thoroughly studied music history from the very beginning. Having been composing music since 5 years of age, I went through influences of all styles I ever stud-ied. After I learned about all trends of the classi-cal and folk music, my curiosity moved me to research popular music, rock and jazz. At the time of my graduation from Moscow Conserva-tory, I have been playing in a jazz-rock band and composing music that derived from modern classical, rock and jazz styles. Many years passed, and I feel now - even stronger than ever - that a modern composer should search for new directions in music development embracing the concepts of the both structural and improvisatory worlds. I believe that the jazz approach is yet the best way to free musician from limitations of any particular style, and that jazz is the only style that has been and still evolving in many fascinat-ing directions ever since the classical avant-garde has reached its dead end. I favor jazz sound and improvisatory approach in my music making, combined with the compositional struc-tures. I believe that I created quite engaging listening experience, satisfactory for both jazz and classical music fans, in my latest albums,

“Cold Sun” (released in April of 2010) and “Grass Catching the Wind” (just released in July.) JI: What kinds of eye-opening lessons or under-standings about human nature have you gained through your experiences in the music business? YE: I came to realization that when you strive for the best, half good is not enough. You may have great music, but poor performance kills the listening experience; or the performers are good, but music lacks quality, and the result does not seem so great either. I have also learned from my experience, working with such top-notch musi-cians like Mads Vinding and Peter Erskine, that the less you try to be in control while playing together, the best would be the result. This is yet another reason I choose jazz, because in jazz you are giving yourself up to the moments of magic, when interplay between players creates some-thing entirely unique and often different from

your pre-composed material. Re-cording of the “Cold Sun” has proved to me that there are no happier mo-ments than the ones when you witness the transformation of familiar music into something slightly or entirely dif-ferent, and you wonder and admire the music just being born. JI: What are the benefits and draw-backs of women segregating them-selves into all-women groups and en-deavors? YE: Women do have mutual under-standing about the need to balance the artistic life with the family chores. Another benefit of all-women band would be that, segregating together, they are not hindered by all-masculine influence. However, I personally prefer the mishmash of feminine and masculine in a group for more rounded approach to the subject, espe-cially in the jazz music making. JI: What kinds of interests or activities do you pursue in addition to music? If applicable, how do they contribute to your awareness and devel-opment as an artist?

YE: Oil-on-canvas painting is my main hobby. Composing a picture and working with colors has so much in common with composing and playing music. If you listen to “Cold Sun” or any other of my records, you will guess that my style in painting has something to do with impression-ism. JI: What are the biggest challenges that women face in the jazz world? What suggestions do you have for overcoming those challenges, toward developing a grander unity in this often competi-tive artistic arena? YE: I guess the biggest challenge for a woman in the jazz world is to balance family duties with the traveling, adapting constant challenge of finding new venues, new musical partners, self-improvement, promoting, etc. Jazz is the most

demanding field in music, because it does not forgive delays in keeping up with the constant changes in the performing circles. Jazz musi-cians usually do not favor to play in the same set up over and over again. The fun part is to mix and match with different jazzmen, which gives you a new opportunity of interplay – the focal point of jazz music making. Despite of having a great success in trio with Mads Vinding and Peter Erskine in “Cold Sun,” I have recorded my next album, “Grass Catching the Wind,” with different drummer – Morten Lund; and on my current project I have recorded with Peter Er-skine and a different bass player – Darek Oles. They are all fantastic musicians, but each one contributes something very unique to the inter-play. JI: Could you share some words of wisdom, or a quotation or idea that you’ve discovered, read or learned through experience that embodies the kind of character, integrity and ethics to which you aspire? YE: I’ve always been trying too hard to achieve perfection in my music, until I read the follow-ing statement: “There is always a way out; just make sure that you are not going this way with your feet first.” This humorous philosophy made me realize that over-trying can kill your project, because when you stop having fun with it, the audience will not enjoy it as well. JI: Many musicians have not developed business and marketing skills commensurate with their musical abilities. These shortcomings have often resulted in musicians not understanding how to effectively market themselves or profit from their music, recordings and performances. The lack of skills, replaced purely by hopes and


Interview

Yelena Eckemoff Interview by Joe Patitucci

“I’ve always been trying too hard to achieve perfec-tion in my music, until I [realized] that over-trying

can kill your project, because when you stop having fun with it, the audience will not enjoy it as well.”

www.yelenamusic.com


JI: Talk about your new album and its develop-ment from idea to finished artwork? SK: This being my 4th CD, I was more in tuned to deal with this project because of my past ex-perience. The concept was conceived with the title, which is an original tune written by me and Igor Atalita. I felt that this CD should feel like a statement, and “Without A Doubt” it is. Since now I have a working band, and through our gigs and our camaraderie, we seem to find our own voice. The selected music came together like a puzzle, everything seemed to fit. Since we had most of the material prior to the recording, we were able to play this music at our live concerts; this then made it much more relaxed and com-fortable at the session. This is an old concept that they did back in the day, work the material on the road, and then take it to the studio. The ses-sion was recorded in two days, and I was pleased with the outcome. Then comes the task of deal-ing with the art work, the liner notes, and the final details. Once again dealing with no budget, I gathered photos and started piecing together the artwork for the CD. I was smart enough to take it to a graphic artist by the name of Chris Nelson, who put all the pieces together for me. JI: What were some of the challenges that you experienced in the creation of the new release? SK: Money, money, money, that’s always the challenge. Working with a small budget and trying to create the best project you can is al-ways a problem. However, with courage and faith you can always get by.

JI: You are promoting this new release by taking responsibility for your own marketing and busi-ness in a prolific way. You are handling all of the airplay promotion and publicity activities on your own. What does that take to accomplish? Could you talk about your experiences in buying these services from vendors in the past, and the several reasons that you've chosen to do this on your own? SK: Once again due to my budget, I was limited to pay for expert help and advice, so I had to turn

to myself and learn how to wear all the hats. It’s a lot more work when you have to do it yourself, but with faith you al-ways find people to help you along the way. Communicating with the writers and the critics, most of them know me from my past CDs were willing to work with me because of my reputation. Of course where I had to pay, I still had to pay, there’s no way around that. JI: I did have to make some choices and hire a radio person by the name of Max Horowitz from Cross Over Media, who helped me immensely with my radio promotion, but I still had to pay him. When you are the producer, as well as the record company and the artist, you have to make smart choices and be will-ing to do a hands on with the whole pro-ject, but you also have to be smart enough to know when you need help. JI: Talk about growing up in St. Albans, the musical environment and some of your local mentors. SK: I was born in Spanish Harlem and we lived there in the Johnson Projects. From Harlem we moved to St. Albans, Queens, which was in the early 50’s. Queens was very influential in broad-ening my musical scope. Being of Puerto Rican descent, at home, my father played music from Tito Puente, Tito Rodriguez, Machito & Cortijo. That’s where I got my great appreciation for Salsa/Latin and Latin Jazz. My brother Bobby

was my inspiration, and we shared this love for music together. Living in Queens I soon found my neighbors were giants in Jazz as well as R&B artists. My greatest mentor was the pro-ducer Henry Glover, who lived right on the cor-ner of my block. At his house I got to see some of the greats’ rehearsals such as “Cleptones, Joey Dee & The Star lighters, Hank Ballad, and the great Arthur Prysock. Around the corner was the great saxophonist Eddie Lockjaw Davis. Five blocks away my friend’s father was none other

than “Pres,” Lester Young. Within the next ten blocks you had artists like Count Basie, James Brown, Brook Benton and the list goes on and on. The beautiful thing about this was they were not star struck at that time and were very ap-proachable by the people in the neighborhood. Just watching those guys, I knew what I wanted to be in the future. JI: What words of encouragement or support, or quotation or fragment of wisdom have you re-ceived from a mentor or associate is it that pro-vides inspiration or guidance in your life? SK: My famous words of wisdom are: “To They Own Self Be true,” and “if you don’t stand For Something, You Fall For Everything!!” For me those have always been words to live by. JI: What jazz artist or recording that you heard first or early on provided was the spark for your inspiration to take this creative path and a life in jazz? SK: I would say Duke Ellington’s “A Train,” Tito Puente’s “Ran Can Can,” Ahmad Jamal’s “Poinciana,” Mongo Santamaria’s “Afro Blue,” Dizzy Gillespie & Chano Pozo’s “Manteca,” Machito and Mario Bauza’s “Tanga,” just to name a few. JI: Talk about your work with some of the pop stars with whom you've performed such as Bill Cosby, Roberta Flack, Aretha Franklin, Diana Krall. What were some of the noteworthy experi-ences you had or observations you made while working with these artists that has made an im-pact on your artistry or character? SK: The main pop star that I had a long working relationship with was Luther Van Dross. With him I recorded and toured for 20 years. Being in

Interview

Steve Kroon Interview by Eric Nemeyer

“Stability is always the key. Knowing the real person inside

of you, and not getting caught up in the hype of the moment. Money, ego and power are not the final prize to life. To me

the most important thing is your self-respect and respect for others. You have to choose your friends wisely. Good

friends are like strong roots, they keep you grounded.”

www.stevekroon.com


his circle, I got to do recording projects for Are-tha Franklin, & Teddy Pendergrass. During that time I was recording with a lot of producers such as Barry Eastman, who I recorded for Kenny G, The Temptations, Billy Ocean and Freddy Jack-son. Simultaneously I was working with Ron Carter and his Jazz Quartet. I was doing many of his productions and I got known in the jazz cir-cuit. I found myself recording for people like Stanley Turrentine, Gary Bartz, and Jimmy Heath. I recorded some great projects for Bill Cosby, one dedicated to his son called “Hello Friend.” I’ve also recorded with some famous Jazz vocalists such as Dianna Krall, Roberta Flack and Bette Midler. When you are in these circles with all these producers so many things are happening all at once and when you look back, it leaves you in awe. Those were some great times. JI: Could you share some of the advice you received or discussions you may have had with Ron Carter during your long association with him? SK: Ron was a very strong influential mentor to me. I learned so many important things about being a musician, as well as the business. One of the first things he told me when I joined his group is that you have to find your own voice in your own instrument. I asked him when I first joined the band why he wanted to be a band leader, and he replied because he got to choose the songs. I found that very impressive. JI: What did you learn early-on on the band-stand working clubs in New York as you were developing? SK: I think the most important lesson is disci-pline and pacing yourself, and finding out is this what you want to do the rest of your life. Be-coming a full time musician is a dedicated choice, you have to be totally committed. JI: How do you balance the drive of the ego for power, fame, recognition, financial success and

or security that many of us experience, with your creative drive, and the humility necessary to be a student one's craft to ensure lifelong growth? SK: Stability is always the key. Knowing the real person inside of you, and not getting caught up in the hype of the moment. Money, ego and power are not the final prize to life. To me the most important thing is your self-respect and respect for others. You have to choose your friends wisely. Good friends are like strong roots, they keep you grounded. Friendship, fam-ily and love are the real riches in life. JI: What are your thoughts on the following perspective of philosopher Eric Hoffer and how it relates to the world of jazz on the creative and business sides? “In a world of change, the learn-ers shall inherit the earth, while the learned shall find themselves perfectly suited for a world that no longer exists.” SK: It seems that one needs to be a student for life and keep learning, as well as being able to adapt to all situations. Keeping your mind and spirit open to the future. JI: Could you share your ideas on what John Wooden said: “Be more concerned with your character than your reputation, because your character is what you really are, while your repu-tation is merely what others think you are.” SK: Your character is the description of who you’ve become; your reputation is the focus of what perceives you. JI: What have you discovered about human nature in your life on and off the bandstand? SK: You have to be willing to understand that everybody’s ideas and opinions are important, so you have to be willing to share the stage as well as the world with others. JI: If this is relevant for you, what is the connec-tion between music and spirituality?

SK: They both meet at the same place. Music is a form of spirituality; it opens you to another level of existence that you are willing to share with other people. Just like the human voice, music communicates and brings people together. JI: What do you do to recharge your batteries when you're not engaged in the business of mu-sic or performing. SK: I love walking, that releases a lot of my anxiety. I truly believe that when you walk, you walk with God. I also like the freedom of riding my bicycle in the park or some place of beauty and peace. Most of all I love my garden, which I created to enjoy the beauty of growth and creat-ing my own space to reflect and meditate. “On The One”

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55 Bar, 55 Christopher St. (betw 6th & 7th Ave.), 212-929-9883, www.55bar.com 92nd Street Y, 1395 Lexington Ave, New York, NY 10128 212.415.5500, www.92ndsty.org Aaron Davis Hall, City College of NY, Convent Ave., 212-650- 6900, www.aarondavishall.org Alice Tully Hall, Lincoln Center, Broadway & 65th St., 212-875- 5050, www.lincolncenter.org/default.asp Allen Room, Lincoln Center, Time Warner Center, Broadway and 60th, 5th floor, 212-258-9800, www.lincolncenter.org/default.asp American Museum of Natural History, 81st St. & Central Park W., 212-769-5100, www.amnh.org Arthur’s Tavern, 57 Grove St., 212-675-6879 or 917-301-8759, www.arthurstavernnyc.com Arts Maplewood, P.O. Box 383, Maplewood, NJ 07040; 973-378-2133, www.artsmaplewood.org Avery Fischer Hall, Lincoln Center, Columbus Ave. & 65th St., 212-875-5030, www.lincolncenter.org Backroom at Freddie’s, 485 Dean St. (at 6th Ave.), Brooklyn, NY, 718-622-7035, www.freddysbackroom.com BAM Café, 30 Lafayette Ave., Brooklyn, NY, 718-636-4100, www.bam.org Bar 4, 7 Ave and 15th, Brooklyn NY 11215, 718-832-9800, www.Bar4.net Bar on Fifth — Jazz at the Bar on Fifth, Music every night 8:00 PM - 11:00 PM, No cover charge, one drink minimum The Bar on Fifth at the Setai Fifth Avenue Hotel, 400 Fifth Avenue, New York, NY, 212-695-4005 www.capellahotels.com/newyork/ Barbes, 376 9th St. (corner of 6th Ave.), Park Slope, Brooklyn, 718-965-9177, www.barbesbrooklyn.com Barge Music, Fulton Ferry Landing, Brooklyn, 718-624-2083, www.bargemusic.org B.B. King’s Blues Bar, 237 W. 42nd St., 212-997-4144, www.bbkingblues.com Beacon Theatre, 74th St. & Broadway, 212-496-7070 Birdland, 315 W. 44th St., 212-581-3080 Blue Note, 131 W. 3rd St., 212-475-8592, www.bluenotejazz.com/newyork Bluestone Bar & Grill, 117 Columbia St., Brooklyn, NY, 718-403-7450, www.bluestonebarngrill.com Bourbon Street Bar and Grille, 346 W. 46th St, NY, 10036, 212-245-2030, [email protected], [email protected] Bowery Poetry Club, 308 Bowery (at Bleecker), 212-614-0505, www.bowerypoetry.com Brooklyn Public Library, Grand Army Plaza, 2nd Fl, Brooklyn, NY, 718-230-2100, www.brooklynpubliclibrary.org Café Carlyle, 35 E. 76th St., 212-570-7189, www.thecarlyle.com Café Loup, 105 W. 13th St. (West Village) , between Sixth and Seventh Aves., 212-255-4746 Cafe Mozart, 308 Mamaroneck Ave., Mamaroneck, NY Café St. Bart’s, 109 E. 50th St. (at Park Ave.), 212-888-2664, www.cafestbarts.com Café Steinhof, 422 Seventh Ave. (14th St., Park Slope S.), Brooklyn, NY, 718-369-7776, www.cafesteinhof.com Carnegie Club, 156 W. 56th St., 212-957-9676, www.hospitalityholdings.com Carnegie Hall, 7th Av & 57th, 212-247-7800, www.carnegiehall.org Cecil’s Jazz Club & Restaurant, 364 Valley Rd, West Orange, NJ, Phone: 973-736-4800, www.cecilsjazzclub.com Charley O’s, 713 Eighth Ave., 212-626-7300 Chico’s House Of Jazz, In Shoppes at the Arcade, 631 Lake Ave., Asbury Park, 732-774-5299 Cleopatra’s Needle, 2485 Broadway (betw 92nd & 93rd), 212-769-6969, www.cleopatrasneedleny.com Cobi’s Place, 158 W. 48th (bet 5th & 6th Av.), 516-922-2010 Copeland’s, 547 W. 145th St. (at Bdwy), 212-234-2356 Cornelia Street Café, 29 Cornelia St., 212-989-9319, www. corneliastreetcafe.com Creole Café, 2167 Third Ave (at 118th), 212-876-8838. Crossroads at Garwood, 78 North Ave., Garwood, NJ 07027, 908-232-5666 Cutting Room, 19 W. 24th St, Tel: 212-691-1900, www.thecuttingroomnyc.com Destino, 891 First Ave. & 50th St., 212-751-0700 Detour, 349 E. 13th St. (betw 1st & 2nd Ave.), 212-533-6212, www.jazzatdetour.com Division Street Grill, 26 North Division Street, Peekskill, NY, 914-739-6380, www.divisionstreetgrill.com Dizzy’s Club Coca Cola, Broadway at 60th St., 5th Floor, 212-258-9595, www.jalc.com The Ear Inn, 326 Spring St., NY, 212-226-9060, www.earinn.com eighty-eights, 1467 Main Street, Rahway, NJ, 732-499-7100 El Museo Del Barrio, 1230 Fifth Ave (at 104th St.), Tel: 212-831-7272, Fax: 212-831-7927, www.elmuseo.org The Encore, 266 W. 47th St., 212-221-3960, www.theencorenyc.com

Fat Cat, 75 Christopher St. (at &th Ave.), 212-675-7369, www.fatcatjazz.com FB Lounge, 172 E. 106th St., New York, 212-348-3929, www.fondaboricua.com Feinstein’s at Loew’s Regency, 540 Park Avenue (at 61st Street), NY, 212-339-4095, feinsteinsattheregency.com Five Spot, 459 Myrtle Ave, Brooklyn, NY, 718-852-0202, www.fivespotsoulfood.com Flushing Town Hall, 137-35 Northern Blvd., Flushing, NY, 718-463-7700 x222, www.flushingtownhall.org Frank’s Cocktail Lounge, 660 Fulton St. (at Lafayette), Brook-lyn, NY, 718-625-9339, www.frankscocktaillounge.com Freddy’s Backroom, 485 Dean St., Brooklyn, NY 11217, 718-622-7035 Galapagos, 70 N. 6th St., Brooklyn, NY, 718-782-5188, www.galapagosartspace.com Garage Restaurant and Café, 99 Seventh Ave. (betw 4th and Bleecker), 212-645-0600, www.garagerest.com Glen Rock Inn, (Glen Rock, New Jersey) 222 Rock Road, Glen Rock, NJ 07452, 800-400-2362 Greenwich Village Bistro, 13 Carmine St., 212-206-9777, www.greenwichvillagebistro.com Harlem Tea Room, 1793A Madison Ave., 212-348-3471, www.harlemtearoom.com Havana Central West End, 2911 Broadway/114th St), NYC, 212-662-8830, www.havanacentral.com Highline Ballroom, 431 West 16th St (between 9th & 10th Ave. www.highlineballroom.com, 212-414-4314. Hopewell Valley Bistro, 15 East Broad St, Hopewell, NJ 08525, 609-466-9889, www.hopewellvalleybistro.com Il Porto Restorante, 37 Washington Avenue, Brooklyn, New York 11205, 718-624-0954 or 718-624-2965, Friday & Saturday 7:30PM - 10:30PM Iridium, 1650 Broadway (below 51st St.), 212-582-2121, www.iridiumjazzclub.com Jazz 966, 966 Fulton St., Brooklyn, NY, 718-638-6910 Jazz at Lincoln Center, 33 W. 60th St., 212-258-9800, www.jalc.org Frederick P. Rose Hall, Broadway at 60th St., 5th Floor Dizzy’s Club Coca-Cola, Reservations: 212-258-9595 Rose Theater, Tickets: 212-721-6500 The Allen Room, Tickets: 212-721-6500 Jazz Gallery, 290 Hudson St., Tel: 212-242-1063, Fax: 212-242- 0491, www.jazzgallery.org The Jazz Spot, 375 Kosciuszko St. (enter at 179 Marcus Garvey Blvd.), Brooklyn, NY, 718-453-7825, www.thejazz.8m.com Jazz Standard, 116 E. 27th St., 212-576-2232, www.jazzstandard.net Joe’s Pub at the Public Theater, 425 Lafayette St & Astor Pl., 212-539-8778, www.joespub.com John Birks Gillespie Auditorium (see Baha’i Center) Jules Bistro, 65 St. Marks Place, Tel: 212-477-5560, Fax: 212-420-0998, www.julesbistro.com Kitano Hotel, 66 Park Ave., 212-885-7000 or 800-548-2666, www.kitano.com Knickerbocker Bar & Grill, 33 University Pl., 212-228-8490, www.knickerbockerbarandgrill.com The Knitting Factory, 74 Leonard St., Tel: 212-219-3132, www.knittingfactory.com La Lanterna (Bar Next Door at La Lanterna), 129 MacDougal Street, New York, 212-529-5945, www.lalanternarcaffe.com Le Grand Dakar Cafe, 285 Grand Ave, Clinton Hill, Brooklyn, http://nymag.com/listings/restaurant/le-grand-dakar/ Le Madeleine, 403 W. 43rd St. (betw 9th & 10th Ave.), New York, New York, 212-246-2993, www.lemadeleine.com Lenox Lounge, 288 Lenox Ave. (above 124th St.), 212-427-0253, www.lenoxlounge.com Les Gallery Clemente Soto Velez, 107 Suffolk St. (at Rivington St.), 212-260-4080 Linn Restaurant & Gallery, 29-13 Broadway, Queens, Astoria, New York, www.linnrestaurant.com Live @ The Falcon, 1348 Route 9W, Marlboro, NY 12542, www.liveatthefalcon.com Living Room, 154 Ludlow St. (betw Rivington & Stanton), 212-533-7235, www.livingroomny.com The Local 269, 269 E. Houston St. (corner of Suffolk St.), NYC Makor, 35 W. 67th St. (at Columbus Ave.), 212-601-1000, www.makor.org Merkin Concert Hall, Kaufman Center, 129 W. 67th St. (betw Broadway & Amsterdam), 212-501-3330, www.ekcc.org/merkin.htm Metropolitan Room, 34 West 22nd Street New York City, NY 10012, 212-206-0440, www.metropolitanroom.com MetroTech Commons, Flatbush & Myrtle Ave., Brooklyn, NY, 718-488-8200 or 718-636-4100 (BAM) Miles Cafe, 212 E. 52nd St., New York, NY 10022, 212-371-7657 Mirelle’s, 170 Post Ave., Westbury, NY, 516-338-4933 Mixed Notes Café, 333 Elmont Rd., Elmont, NY (Queens area), 516-328-2233, www.mixednotescafe.com Mo-Bay Uptown, 17 W. 125th St., 212-876-9300,

www.mobayrestaurant.com Moldy Fig Jazz Club, 178 Stanton St., 646-559-2553 www.MoldyFigJazzClub.com Montauk Club, 25 Eighth Ave., Brooklyn, NY, 718-638-0800, www.montaukclub.com Museum of the City of New York, 1220 Fifth Ave. (between 103rd & 104th St.), 212-534-1672, www.mcny.org Musicians’ Local 802, 332 W. 48th St., 718-468-7376 or 860-231-0663 Newark Museum, 49 Washington Street, Newark, New Jersey 07102-3176, 973-596-6550, www.newarkmuseum.org New Jersey Performing Arts Center, 1 Center St., Newark, NJ, 07102, 973-642-8989, www.njpac.org New School Performance Space, 55 W. 13th St., 5th Floor (betw 5th & 6th Ave.), 212-229-5896, www.newschool.edu. New School University-Tishman Auditorium, 66 W. 12th St., 1st Floor, Room 106, 212-229-5488, www.newschool.edu New York City Baha’i Center, 53 E. 11th St. (betw Broadway & University), 212-222-5159, www.bahainyc.org Night of the Cookers, 767 Fulton St., Brooklyn, NY, Tel: 718-797-1197, Fax: 718-797-0975 North Square Lounge, 103 Waverly Pl. (at MacDougal St.), 212-254-1200, www.northsquarejazz.com Nublu, 62 Ave. C (betw 4th & 5th St.), 212-979-9925, www.nublu.net Nuyorican Poet’s Café, 236 E. 3rd St. (betw Ave. B & C), 212-505-8183, www.nuyorican.org Oak Room at The Algonquin Hotel, 59 W. 44th St. (betw 5th and 6th Ave.), 212-840-6800, www.thealgonquin.net Opia, 130 East 57th St, New York, NY 10022 | (212) 688-3939 www.opiarestaurant.com Orbit, 2257 First Ave. (at 116th St.), 212-348-7818, www.orbiteastharlem.com Orchid, 765 Sixth Ave. (betw 25th & 26th St.), 212-206-9928 Parlor Entertainment, 555 Edgecomb Ave., 3rd Floor (betw 159 & 160 St.), 212-781-6595, www.parlorentertainment.com Parlor Jazz, 119 Vanderbilt Ave. (betw Myrtle & Park), Brook-lyn, NY, 718-855-1981, www.parlorjazz.com Perk’s, 535 Manhattan Ave, New York NY 10027, 212-666-8500 Performance Space 122, 150 First Av., 212-477-5829, www.ps122.org Priory Restaurant & Jazz Club: 223 W Market St., Newark, NJ 07103, 973-639-7885 Proper Café, 217-01 Linden Blvd., Queens, NY 11411, 718-341- 2233, jazz Wednesdays Prospect Park Bandshell, 9th St. & Prospect Park W., Brooklyn, NY, 718-768-0855 Prospect Wine Bar & Bistro, 16 Prospect St. Westfield, NJ, 908-232-7320, www.16prospect.com, www.cjayrecords.com Puppets Jazz Bar, Puppet Jazz Bar, 481 5th Avenue, NY 11215, 718- 499-2622, www.PuppetsJazz.com Red Eye Grill, 890 Seventh Ave. (at 56th St.), 212-541-9000, www.redeyegrill.com Richie Cecere’s Restaurant and Supperclub, 2 Erie Street Montclair, NJ 07042, 973.746.7811, www.richiececre.com Ridgefield Playhouse, 80 East Ridge, parallel to Main St., Ridgefield, CT; ridgefieldplayhouse.org, 203-438-5795 Rockwood Music Hall, 196 Allen St, New York, NY 10002 212-477-4155 Rose Center (American Museum of Natural History), 81st St. (Central Park West & Columbus), 212-769-5100, www.amnh.org/rose Rose Hall, 33 W. 60th St., 212-258-9800, www.jalc.org Rosendale Café, 434 Main St., PO Box 436, Rosendale, NY 12472, 845-658-9048, www.rosendalecafe.com Rustik, 471 DeKalb Ave, Brooklyn, NY, 347-406-9700, www. rustikrestaurant.com St. Mark’s Church, 131 10th St. (at 2nd Ave.), 212-674-6377 St. Nick’s Pub, 773 St. Nicholas Av (at 149th), 212-283-9728 St. Peter’s Church, 619 Lexington (at 54th), 212-935-2200, www.saintpeters.org Salon at Rue 57, 60 West 57th Street, 212-307-5656, www.rue57.com Savoy Grill, 60 Park Place, Newark, NJ 07102, 973-286-1700 Schomburg Center, 515 Malcolm X Blvd., 212-491-2200, www.nypl.org/research/sc/sc.html Shanghai Jazz, 24 Main St., Madison, NJ, 973-822-2899, www.shanghaijazz.com Showman’s, 375 W. 125th St., 212-864-8941 Sidewalk Café, 94 Ave. A, 212-473-7373 Silvermine Tavern, 194 Perry Ave. Norwalk, CT 06850, 203-847-4558, www.silverminetavern.com Sista’s Place, 456 Nostrand Ave. (at Jefferson Ave.), Brooklyn, NY, 718-398-1766, www.sistasplace.org Skippers Plane Street Pub Restaurant & Jazz Club, 304 University Ave. Newark NJ 07102 (Across from Essex County College), 973-733-9300, www.skippersplanestreetpub Small’s, 183 W. 10th St. (at 7th Ave.), 212-929-7565, www.fatcatjazz.com Smith’s Bar, 701 8th Ave, New York, 212-246-3268

Clubs & Venues


Sofia’s Restaurant - Club Cache’ [downstairs], Edison Hotel, 221 W. 46th St. (between Broadway & 8th Ave), 212-719-5799 South Gate Restaurant & Bar, 154 Central Park South, 212-484-5120, www.154southgate.com South Orange Performing Arts Center, One SOPAC Way, South Orange, NJ 07079, sopacnow.org, 973-313-2787 South Street Seaport, 207 Front St., 212-748-8600, www.southstseaport.org. Spoken Words Café, 266 4th Av, Brooklyn, 718-596-3923 Stanley H. Kaplan Penthouse, 165 W. 65th St., 10th Floor, 212-721-6500, www.lincolncenter.org The Stone, Ave. C & 2nd St., www.thestonenyc.com Sugar Bar, 254 W. 72nd St., 212-579-0222, www.sugarbarnyc.com Swing 46, 349 W. 46th St.(betw 8th & 9th Ave.), 212-262-9554, www.swing46.com Symphony Space, 2537 Broadway, Tel: 212-864-1414, Fax: 212- 932-3228, www.symphonyspace.org Tea Lounge, 837 Union St. (betw 6th & 7th Ave), Park Slope, Broooklyn, 718-789-2762, www.tealoungeNY.com Terra Blues, 149 Bleecker St. (betw Thompson & LaGuardia), 212-777-7776, www.terrablues.com Theatre Row, 410 W. 42nd, 212-714-2442, www.theatrerow.org Tito Puente’s Restaurant and Cabaret, 64 City Island Avenue, City Island, Bronx, 718-885-3200, titopuentesrestaurant.com Tonic, 107 Norfolk St. (betw Delancey & Rivington), Tel: 212-358-7501, Fax: 212-358-1237, tonicnyc.com Town Hall, 123 W. 43rd St., 212-997-1003 Triad Theater, 158 W. 72nd St. (betw Broadway & Columbus Ave.), 212-362-2590, www.triadnyc.com Tribeca Performing Arts Center, 199 Chambers Street, 10007, [email protected], www.tribecapac.org Trumpets, 6 Depot Square, Montclair, NJ, 973-744-2600, www. trumpetsjazz.com Turning Point Cafe, 468 Piermont Ave. Piermont, N.Y. 10968 (845) 359-1089, http://www.turningpointcafe.com/ Village Vanguard, 178 7th Avenue South, 212-255-4037, www.villagevanguard.net Vision Festival, 212-696-6681, [email protected], www.visionfestival.org Watchung Arts Center, 18 Stirling Rd, Watchung, NJ 07069, 908-753-0190, www.watchungarts.org Watercolor Café, 2094 Boston Post Road, Larchmont, NY 10538, 914-834-2213, www.watercolorcafe.net Weill Receital Hall at Carnegie Hall, 57th & 7th Ave, 212-247-7800 Williamsburg Music Center, 367 Bedford Avenue, Brooklyn, NY 11211, (718) 384-1654 www.wmcjazz.org Wolf & Lamb, 10 East 48th Street, New York, NY 10017 Zankel Hall, 881 7th Ave, New York, 212-247-7800 Zebulon, 258 Wythe St., Brooklyn, NY, 11211, 718-218-6934, www.zebuloncafeconcert.com Zinc Bar, 82 West 3rd St., 212-477-8337, www.zincbar.com Zorzi, 1 East 35th Street, 212-213-9167, www.zorzi-nyc.it

RECORD STORES

Barnes & Noble, 1960 Broadway, at 67th St, 212-595-6859 Colony Music Center, 1619 Broadway. 212-265-2050, www.colonymusic.com Downtown Music Gallery, 13 Monroe St, New York, NY 10002, (212) 473-0043, www.downtownmusicgallery.com J&R Music World, 13 Monroe Street, 212-238-9000, www,jr.com Jazz Record Center, 236 W. 26th St., Room 804, 212-675-4480, www.jazzrecordcenter.com Norman’s Sound & Vision, 67 Cooper Sq., 212-473-6599 Princeton Record Exchange, 20 South Tulane Street, Princeton, NJ 08542, 609-921-0881, www.prex.com Rainbow Music 2002 Ltd., 130 1st Ave (between 7th & St. Marks Pl.), 212-505-1774 Scotti’s Records, 351 Springfield Ave, Summit, NJ, 07901, 908-277-3893, www.scotticd.com

MUSIC STORES

Manny’s Music, 156 W. 48th St. (betw. 6th and 7th Ave), 212-819-0576, Fax: 212-391-9250, www.mannysmusic.com Drummers World, Inc., 151 W. 46th St., NY, NY 10036, 212-840-3057, 212-391-1185, www.drummersworld.com Roberto’s Woodwind & Brass, 149 West 46th St. NY, NY 10036, 646-366-0240, Repair Shop: 212-391-1315; 212-840-7224, www.robertoswoodwind.com Rod Baltimore Intl Woodwind & Brass, 168 W. 48 St. New York, NY 10036, 212-302-5893 Sam Ash, 160 West 48th St, 212-719-2299, www.samash.com Sadowsky Guitars Ltd, 2107 41st Avenue 4th Floor, Long Island City, NY 11101, 718-433-1990. www.sadowsky.com Steve Maxwell Vintage Drums, 723 7th Ave, 3rd Floor, New York, NY 10019, 212-730-8138, www.maxwelldrums.com

SCHOOLS, COLLEGES, CONSERVATORIES

92nd Street Y, 1395 Lexington Ave, New York, NY 10128 212.415.5500; www.92ndsty.org Brooklyn-Queens Conservatory of Music, 42-76 Main St., Flushing, NY, Tel: 718-461-8910, Fax: 718-886-2450 Brooklyn Conservatory of Music, 58 Seventh Ave., Brooklyn, NY, 718-622-3300, www.brooklynconservatory.com City College of NY-Jazz Program, 212-650-5411, Columbia University, 2960 Broadway, 10027 Drummers Collective, 541 6th Ave, New York, NY 10011, 212-741-0091, www.thecoll.com Five Towns College, 305 N. Service Rd., 516-424-7000, ext.163, Dix Hills, NY Greenwich House Music School, 46 Barrow St., Tel: 212-242- 4770, Fax: 212-366-9621, www.greenwichhouse.org Juilliard School of Music, 60 Lincoln Ctr, 212-799-5000 LaGuardia Community College/CUNI, 31-10 Thomson Ave., Long Island City, 718-482-5151 Lincoln Center — Jazz At Lincoln Center, 140 W. 65th St., 10023, 212-258-9816, 212-258-9900 Long Island University — Brooklyn Campus, Dept. of Music, University Plaza, Brooklyn, 718-488-1051, 718-488-1372 Manhattan School of Music, 120 Claremont Ave., 10027, 212-749-2805, 2802, 212-749-3025 New Jersey City University, 2039 Kennedy Blvd., Jersey City, NJ 07305, 888-441-6528 New School, 55 W. 13th St., 212-229-5896, 212-229-8936 New York University-Jazz/Contemporary Music Studies, 35 West 4th St. Room#777, 212-998-5446, 212-995-4043 Princeton University-Dept. of Music, Woolworth Center Musi-cal Studies, Princeton, NJ, 609-258-4241, 609-258-6793 Queens College — Copland School of Music, City University of NY, Flushing, 718-997-3800 Rutgers Univ. at New Brunswick, Jazz Studies, Douglass Campus, PO Box 270, New Brunswick, NJ, 908-932-9302 SUNY Purchase, 735 Anderson Hill Rd., Purchase, NY 914-251-6300, 914-251-6314 Turtle Bay Music School, 244 E. 52nd St., New York, NY 10022, 212-753-8811, www.tbms.org William Paterson University Jazz Studies Program, 300 Pomp-ton Rd, Wayne, NJ, 973-720-2320

RADIO

WBGO 88.3 FM, 54 Park Pl, Newark, NJ 07102, Tel: 973-624- 8880, Fax: 973-824-8888, www.wbgo.org WCWP, LIU/C.W. Post Campus WFDU, http://alpha.fdu.edu/wfdu/wfdufm/index2.html WKCR 89.9, Columbia University, 2920 Broadway Mailcode 2612, New York, NY 10027, Listener Line: (212) 854- 9920, www.columbia.edu/cu/wkcr, [email protected] One Great Song, Hosted by Jay Harris, www.wmnr.org (at 6 on Saturdays, and at www.tribecaradio.net at 11AM Sundays and again on Monday and Thursday nights at 11PM.) Lenore Raphael’s JazzSpot, Air time – Sundays at 8am and 8pm, Fridays 11pm and Saturdays at 3pm, Eastern time at www. purejazzradio.com. Every week a visit with a different guest artist featuring intimate conversations and great live performances.

PERFORMING GROUPS

Westchester Jazz Orchestra, Emily Tabin, Exec. Director, PO Box 506, Chappaqua, NY 10514, 914-861-9100, www.westjazzorch.org

ADDITIONAL JAZZ RESOURCES

Big Apple Jazz, www.bigapplejazz.com, 718-606-8442, [email protected] Louis Armstrong House, 34-56 107th St, Corona, NY 11368, 718-997-3670, www.satchmo.net Institute of Jazz Studies, John Cotton Dana Library, Rutgers- Univ, 185 University Av, Newark, NJ, 07102, 973-353-5595 Jazzmobile, Inc., 154 W. 126th St., 10027, 212-866-4900, www.jazzmobile.org Jazz Museum in Harlem, 104 E. 126th St., 212-348-8300, www.jazzmuseuminharlem.org Jazz Foundation of America, 322 W. 48th St. 10036, 212-245-3999, www.jazzfoundation.org New Jersey Jazz Society, 1-800-303-NJJS, www.njjs.org New York Blues & Jazz Society, www.NYBluesandJazz.org Rubin Museum, 150 W. 17th St, New York, NY, 212-620-5000 ex 344, www.rmanyc.org.

Clubs & Venues


PERSONNEL: Kat Gang – vocals/lyrics; Nate Mayland, trombone, compositions; Barry Levitt, piano; Dick Sarpola, bass; Ray Marchica, drums By Nora McCarthy A sparkling talent has arrived on the jazz scene by way of a stunning singer/songwriter/actress by the name of Kat Gang. I don’t mean the garden variety American Idol type that per-vades our musical landscape these days but a real jazz singer who understands the jazz vo-cabulary and the art of song. A performance cancellation was the conduit that ushered Kat Gang and the Nate Mayland Quartet onto the stage at the Irid-ium this past Tuesday provid-ing the catalyst for them to quickly assemble their new body of work that they have been col-laborating on for roughly a little over six weeks and present it to the world for the first time. This was their mo-ment to shine and a heralding of great things to come. Ms. Gang delivered her set of predominately original music that she co-wrote with partner trombonist, Nate Mayland ,with the savoir faire and musical ma-turity of someone much older than her years. Mayland’s skillfully written and arranged com-positions have a very appealing contemporary sound and Kat’s lyrics intuitively captured the emotional spirit of the songs, and an accessibility we can all relate to. There were no down mo-ments on stage as Gang and Mayland demon-strated a closely knit musical intimacy reminis-cent of other great voice and horn teams whose chemistry was palpable. Kat’s joyful emanations as she sang and her striking stage presence accomplished what many

singers can’t produce -- an enticing and captivat-ing performance that is also entertaining. She exudes confidence and accommodates every note expertly with her clear vibrant voice, vast range and a rhythmic concept similar to Anita O’Day’s. Backed by a first-class band, Ms. Gang bubbled and moved effortlessly to the pulse shifting easily from one feel to another, one tempo to another, from one change to another -- improvising – she can do it all and doesn’t miss a beat when singing shout lines with Mayland and yet wasn’t tied to the line -- she took chances – because she clearly understands the musical landscape. Her scatting isn’t gratuitous but well thought out, spontaneous and very mu-sical. There were many highlights during the little-over-an-hour long performance. I loved the sentiment of the lyrics on “After You Go,” the couple’s maiden voyage piece – a sweet longing

jazz waltz about new love and those bittersweet moments of “in between time” that are filled with that aching feeling of miss-ing someone and the intoxicating anticipation of their next meet-ing, “deliciously sad,” good stuff. Mayland took an impressive solo on “Please Don’t B r e a k M y Heart,” an origi-nal soulful bal-lad, conveying the vulnerability of falling in love with his beautiful tone and master-ful articulation. “Up To Speed", a catchy swing with an interval-lically interesting melody line that could easily be a Standard; Levitt, Sa rpola and

Mayland turned out on some nicely designed solos that were swingin’ and Kat’s singing was right on it. “All The Things You Are,” May-land’s harmonically open structured up tempo bossa arrangement with its embracing “West Coast” vibe was a nice deviation from the origi-nal material. This Oscar Hammerstein/Jerome Kern beauty is a tricky tune to navigate over and I’ve heard it throw the best singers a curve but Ms. Gang glided over the changes like a bird on the wing, making every twist and turn with sonar precision. The sweet success of a super perform-

ance was nicely summed up in her playful rendi-tion of Irving Berlin’s “Cheek to Cheek” leaving the audience wanting more. When asked about her new musical collabo-ration with partner Mayland Ms. Gang said, “I don’t know if you’ve ever had the experience when something is right it is very easy.” After observing her wonderful debut performance at the Iridium it’s pretty easy to say, that she’s very right indeed.

PERSONNEL: Warren Wolf, vibes; Lawrence Fields, piano; Kris Funn, bass; John Lamkin, drums By Shannon Effinger It’s a humid Thursday night here at the Jazz Standard as we await the arrival of the Warren Wolf Quartet. Wolf immediately explains to the crowd how he and his fellow bandmate, drum-mer John Lamkin, were happy to be here despite their difficult commute. As they were leaving Baltimore, which had a record high of 105°, their early bus to NYC never showed up and the bus that followed was stuck in late day rush hour traffic for so long that it caused them to miss their 5:00 sound check. Thankfully, they arrived at 6:45—forty-five minutes prior to the start of the first set—and we would soon be treated to a strong performance from this group of promising young musicians. “SKJ”, which was written for Sandra Jack-son (wife of the late, great MJQ vibraphonist Milt Jackson), opens with a swinging walking bassline from Kris Funn, followed by Lamkin on drums and a surprisingly mature command of the piano from Lawrence Fields. All of the musi-cians are relatively young, but Fields appears to be the youngest member of the quartet and yet his playing conjures the spirit of Art Tatum’s stride piano coupled with McCoy Tyner’s rhyth-mic open-mindedness that complemented John Coltrane’s influential sound. As Wolf enters “SKJ”, he adds a lyrical quality with his heavy-handed approach on vibes, giving the piece emo-tional heft without overwhelming your senses. “A Prayer for the Christian Man”, an origi-nal composition inspired by Coltrane and Tyner, starts in unison. Reminiscent of Coltrane’s “My Favorite Things” in that they all begin harmoni-ously in sync, but during their solos, each musi-cian explores the untapped possibilities within the melody, notably Wolf’s Coltrane-like attack on vibes and Field’s Tyner-like elevated chords on piano. On “Christian Man”, Wolf and Fields mirror the symbiotic relationship between John Coltrane and McCoy Tyner while breathing new life into the popular Coltrane standard. It’s a wonder how their horrible commute into Manhattan never once interfered with the

Performance Reviews

Warren Wolf Jazz Standard June 9, 2011

Kat Gang The Iridium

July 19, 2011

Kat Gang


overall sound. Although their influences are clearly evident—Milt Jackson, McCoy Tyner, John Coltrane—these musicians really stood out most when they injected more of themselves into the latter half of the opening set. Warren Wolf is not only a strong player, as he crisscrosses his vibe mallets with ease, but he’s also a generous leader who gives his musicians ample room to breathe and find their way musically.

PERSONNEL: Shawn Aileen Clark, vocals; John Merrill, guitar; Chris Pistorino, bass; Brian Floody, drums By Nora McCarthy The combination of the swanky chic ambi-ance of the Rose Club in the historic Plaza Hotel and the mystique whipped up by a delightful singer Shawn Clark and her trio of Jazz gents known as Lapis Luna made for a night of memo-rable music. The nostalgic atypical repertoire of seldom heard, once forgotten and too often over-looked gems, preserved in their original juice delivered with lots of sass and sauce and cap-tured within a timeless visual vessel complete with a vintage mic, one shouldered dress, and Gretsch drum set was a nice departure from the background music that these kinds of wonderful songs usually get relegated to in clubs, hotels and lounges around the country if not entirely sacrificed to house music or dreadful karaoke. So on those notes, it was a pleasure to hear and to be taken back to a time when the popular mu-sic of the day was Jazz, Swing and Blues and great song writing with meaningful lyrics pre-vailed. But even more heartening was the youth-ful group of top notch musicians known as Lapis

Luna who embraced the music with a fresh vital-ity. Ms. Clark, who co-leads the band with partner, bassist Christopher Pistorino, has a lilt-ing and sweet voice. Not a scatter or improviser per se, at least on this evening, she neither belts nor overworks the songs but simply sings each piece with an air of understatement and panache, never getting in the way of the melody or words but dealing strictly with the poetics of each piece--a challenge in and of itself. Many great singers never scatted and Ms. Clark is coming out of that time-honored tradition. Guitarist John Merrill played a1999 Zeidler Archtop made by the late great Luthier John Zeidler this evening which brought out a beauti-fully identifiable tonal quality to his playing. He took many very fine rooted solos throughout the evening while supplying superb accompaniment for Ms. Clark who demonstrated nice phrasing on an upbeat version of “On The Street Where You Live” staying inside the harmonic form. When you’re working with material such as this it is important to let the music speak for itself, and I believe her understanding of the role the singer played during the era these songs were created in added to the authenticity of the sound the group is presenting. I was impressed with the excellent brush work and tastily seasoned play-ing of drummer Brian Floody who possesses a keen understanding of the jazz idiom--both he, Merrill and Pestorino are alumni of The New School. Bassist Chris Pistorino is a solid player with a well rounded fat sound who plays every-thing from Dixieland to Modern Jazz, Sym-phonic Orchestra to Rock and Blues. The group’s interdependent dynamics are what make their musical concept jell in this format; there were no egos competing for the spotlight, it was truly all about the songs and era, which I found refreshing. Their focus, respect for the music, composure, and, their easy-does-it manner made their sound quite appealing. They neither wore

out nor bored the audience. Quite the contrary, they managed to keep the audience around all evening and even got them out of their seats to dance….I for one. Lapis Luna’s abundant song list consisted of several sets of classic music from the 1930s, 40s & 50s and included hot Jazz, early Blues, Big Band, Bebop and retro Cha-Cha, Bossa Nova, Mambo & Rumba. Standards like: “Just In Time,” “Very Nice,” “I Never Knew,” Lerner and Lowe’s,“On The Street Where You Live,” “You and the Night and the Music,” Elling-ton’s ,“Take Love Easy,” “You For Me,” Cole Porter’s, “You Do Something To Me,” “I Don’t Know Why I Love You Like I Do,”…and on and on with the greatest songs ever written, songs some of us, our parents or grandparents grew up on, certainly songs that need to be heard still and learned by all jazz singers if they are to under-stand their craft and the art of singing, i.e., phrasing, melodic and lyrical interpretation. The night ended with a cute tune recorded by both Anita O’Day and June Christie as well as Jeannie Bryson in 2001,“I Told You I Love You, So Get Out” and Ms. Clark meant it!

PERSONNEL: Tammy McCann, vocals; Bruce Barth, piano; Joel Frahm, tenor sax; Richie Goods, bass; Steve Williams, drums. By Nora McCarthy

Tammy McCann received several standing ovations during her stellar performance at Dizzy’s Club Coca Cola on Monday – the fourth of five prestigious jazz clubs in her New York City debut in celebration of her recent release, Never Let Me Go. With an all star band of some of New York’s finest musicians: Bruce Barth, piano; Joel Frahm, tenor saxophone; Richie Goods, bass; and Steve Williams, drums. Ms. McCann’s finely tuned show was flawless in its presentation. Four was certainly Ms. McCann’s magic number this night as she managed to score ƒƒƒƒ (very strong) in all four major categories: performance, pipes, poise and program. Quiet anticipation filled the room as the Tammy McCann Quintet took their places on the stage. The comfortably full room included sup-porters such as Alyce Claerbaut, the niece of one of the most important composers in all of Jazz, Billy Strayhorn. Ms. Claerbaut heard the singer at a brunch a year prior and became the catalyst that helped launch McCann’s career by taking her outside of her familiar performance venues in Chicago and in Europe and bringing her to New York City in 2010 in order to meet some other influential singers including one of her newest supporters, the respected American vo-calist, Ann Hampton Callaway and some mem-


Performance Reviews

Lapis Luna Quartet The Plaza Hotel’s Rose Club

June 30, 2011

Tammy McCann Dizzy’s Club Coca-Cola

July 18, 2011

Lapis Luna


bers of the Board of the Nelson Riddle Founda-tion, and the noted jazz critic and author, Stanley Crouch. In the house this evening were members of the press, several well known musicians and many enthusiastic listeners; all there to share in the success of this evening. The energy in the room was highly receptive and appreciative. The band kicked off the introduction to her opening number; an up tempo swinging crowd pleaser, “I Just Found Out About Love”, as a casually elegant Ms. McCann ambled onto the stage and got down to business amidst cheers and vigorous applause. She came to sing and sing she did. She came to meet us and invite us into her world, her success story, her song. She came bearing natural gifts and with raw talent in hand, she stepped up to the mic and into the hearts of everyone in the room. Tammy McCann gave a well grounded and even-keeled perform-ance and presented herself as someone who clearly has her priorities straight. In short order her beautiful instrument emerged and continued to open up and evolve as she breezed through her show of familiar and favored Standards. McCann was gracious, de-mure, steady and sure in her delivery on every piece which included four songs from her CD.

The highly efficient band was with her all the way driven by Steve Williams who accented her every nuance throughout the night supplying the perfect foundation for her diversely rhythmic material; some of the arrangements of which were contributed by Chicago saxophonist Ari Brown who is also featured on Never Let Me Go. Ms. McCann warmed up her chops taking a chorus over Lionel Hampton’s swinging ar-rangement of “Green Dolphin Street”, introduc-ing the band along the way followed by a sincere version of “Never Let Me Go”. McCann then slipped easily into Carmen Lundy’s, “Blue Woman”, a contemporary groove piece from the new CD, unleashing another aspect of her musi-cal vocabulary where she is very strong and very much at home, and then strolled on over into one of her favorite songs, a funky arrangement of “I Didn’t Know What Time It Was” by Buster Williams, like a kid having fun on every ride in the park. McCann’s voice possesses elements of Classical, Gospel, R&B, Blues and Jazz and though she has been compared to the amazing Dinah Washington; shades of Betty Carter and Cassandra Wilson were present this evening in her improvising. In a night filled with highlights, her bluesy and sanctified rendition of Lena Horne’s anthem,

“Stormy Weather” brought the first standing ovation of the evening. Billie Holiday’s, “Don’t Explain” was soulfully seductive but my per-sonal favorites included a burning version of “My Heart Stood Still” which commanded a boppin’ solo from both Joel Frahm and Bruce Barth and a stunning rendition of the ‘60’s pop hit written by Carole King originally performed by the Shirelles, “Will You Still Love Me To-morrow”. The set wound down with more classic greats, “I Thought About You”, “Lush Life”, (her homage to Billy Strayhorn and Alyce Claer-baut) and a hard swinging rendition of “Easy Living” that brought tumultuous applause. McCann’s outstanding performance proved that she is a talented singer with many qualities, not the least of which is her enormous gratitude for those who have supported and helped her realize the dream she is now living. It was with this sentiment that she dedicated the last most reflec-tive song of the evening, Stephen Sondheim’s beauty, “Send in the Clowns”, to her manager, and left us all feeling grateful we were part of this evening with her.

(Performance Reviews — Continued from page 41)

Performance Reviews

dreams, have also been the source of musicians being taken advantage of by labels, promoters, venues and so forth. If women have experienced more challenges in the jazz world then men, could you comment on the importance of devel-oping relevant business acumen? YE: If you created something that you like your-self, it is only natural to wish to share it with others. But no one will know until you tell them. There is another benefit of sharing your art with others. By sharing, you get the precious feed-back, and even though you do not set a goal to please everybody, in many cases people’s feed-back if essential in understanding the place and role your own creation might have in the society. I have learned and done everything possible to make people aware of my music, including the web presence, spreading printed advertisements and posters, contacting reviewers, playing all kinds of side gigs, such as in restaurants, clubs and rest homes, placing my CDs in the local stores, etc, etc. However if you do not feel ade-quate to do self-promotion effectively, my ad-vise would be to get some professional help in spreading the word about your music. It proves to be a great solution for me ever since I took this decision, because it frees my time for my main endeavors in music and is overall more efficient. JI: What kinds of practice, studies or other ac-tivities do you currently engage in to stay fresh, develop your skills, broaden your awareness, and constantly grow? YE: Point One. I believe that an artist must al-

ways keep hand on the pulse of history and walk in steps with social, cultural and technical devel-opments. Learning about different places, cul-tures and foreign languages, in particular, is very helpful to embrace the world in its fullness. In my recent experience, working with Mads Vind-ing, I learned a lot about Denmark, and working with Peter Erskine, I got to visit and fall in love with Southern California. Point Two. I believe that it is important to have control over your project on all its stages. To achieve this, I had to learn multiple computer software, including Photoshop, Sonar, ProTools and Sibelius. I worked with synthesizers and sequencers, re-cording equipment, produced my own CD-inserts, learned mixing and mastering, not men-tioning the internet tools. Point Three. The main thing for me has been to be aware of all develop-ments that happen in music, especially in jazz circles. I rarely go to sleep without my head-phones, listening to some new or favorite album. I purchase many CDs and am happy to support my fellow artists. JI: John Ruskin said: “The highest reward for a person’s toil is not what they get for it, but what they become by it.” Could you comment on how this might be relevant in your own life? YE: Absolutely! Even though I do care if my music is well accepted by people and would love to be able to make some money with it – for a change, I feel happiest in the very process of making it. Composing and playing is all I really care about, not the success of the product of my art in the society or the profit from it. If I would never see a single dollar of compensation for my hard work and dedication, that would not change

one thing for me or discourage me from engag-ing in a new project as soon as I finish a current one. The joy of creativeness is a gift from God, and it stays with you and makes you feel accom-plished as a human being, no matter what. I would not trade the ability to create for anything. I have just come back from Pasadena, California, where I recorded my new album with Peter Er-skine and Darek Oles, and I am dizzy with over-whelming feelings of satisfaction, dwelling on the moments of magic, mutual understanding and fantastic interplay we had at the recording together. This is only what counts for me: a warm feeling of mutual harmony and magical interplay we had while playing together. JI: Is there anything about women’s current and future roles and accomplishments in jazz, or your own ideas and endeavors, that you would like to discuss? YE: Women gain more visibility in jazz now than ever before. I tie this with the technical progress which frees women from spending the entire time of their lives doing the family chores and fulfilling their roles as house wives. I be-lieve that women bring a lot of fresh ideas and charm into the jazz music development, because women overall have a somewhat different out-look in many areas of life, than men, and they are capable of changing the face of jazz from rugged old standard ways to the introspective depths of a gentle and sensitive woman’s heart. I hope that you will find for yourselves that my latest CDs “Cold Sun” and Grass Catching the Wind” prove the above statement.

(Eckemoff — Continued from page 35)


In a world powered by corporate mind think, capitalistic greed and formatted music, it’s rare to find an altruistic entity that remains true to its mission and delivers more than what’s been adver-tised. Welcome to that celebra-tion of creative sounds and images known as the Vision Festival (#16) which, thanks to the tireless work of producer/dancer Patricia Nicholson Parker and her Arts for Art staff, continues to take a stand. This year, the Vision Festival, which is generally considered to be the world’s premiere fes-tival of avant-garde music, ran 7 days and combined creative music, dance, visual art, spoken word and film drawn from around the globe. More than 45 performances, including special tributes to fallen heroes Billy Bang and Marion Brown, graced the two stages of the Lower East Side’s 330-seat Abrons Art Center, along with 3 panel discussions dealing with music and politics, organi-zation and social action, and innovative music in education. This year’s lifetime achieve-ment celebration went to Peter Brotzmann, the German saxo-phonist/clarinetist who plays with a hurricane force that heats up quicker than a micro-wave. His many sides were showcased in duo, quartet and quintet settings on Wednesday, June 8. A review of the festival’s final 3 days follows with input from the artists who crafted the sounds. Day 5 – Thursday, June 9 The Dick Griffin String Quartet made its premier performance but actually had roots stretching way back to the ‘80s. It turns out that Max Roach heard the Brooklyn Philhar-monic Orchestra execute a piece of Griffin’s music and commissioned Griffin to write a composition for his daughter with some of the MacArthur Foundation grant money he was awarded in 1988. Stunningly, Griffin’s com-

missioned work had never been performed until this night. Why wasn’t the music played before? “Who knows,” explained Griffin.

“Who gets the opportunity?” Mazz Swift and Charles Burnham on violin, Judith Insell on viola and Akua Dixon on cello brought two beautifully constructed works to life with grace and fire as Griffin beamed proudly offstage. The bulk of their set was taken up by “Moving Out,” an improvised song that added the leader on piano and trombone and percussionist War-ren Smith to the string quartet. Griffin dedi-cated “Moving Out” to Sun Ra and Rahsaan

Roland Kirk (his first two professional bosses), Max Roach and Billy Bang. The improvisation was structured with a high density – low den-sity approach. Individual solos designed the path the group took until it was altered again by the next soloist’s effort. These chameleon-esque variations led into classical, nursery rhyme, rock and mournful areas with numerous memorable highlights but one silent interaction between gentle souls Griffin and Smith stood out. During a quiet section, Smith was to pro-duce a low chime on his set as directed by Griffin’s hand motions. After hitting too hard

and generating a loud clang, Smith mouthed “Sorry” to his longtime friend, to which a smiling Griffin silently voiced, “That’s okay.” Nothing could dampen the leader’s triumphant night. Vocalist Jen Shyu’s Rag-ing Waters, Red Sands featured Ivan Barenboim on clarinet, Chris Dingman on vibes, Mat Maneri on viola, Satoshi Takei-shi on percussion and Satoshi Haga in mime whiteface danc-ing with tai chi inspired moves. Shyu’s East Timor and Taiwan heritage shined brightly as she sang and spoke in Tetum (the language of East Timor), Tai-wanese, Portuguese and Man-darin. She was enchanting in appearance and presentation and Maneri’s wistful input solidified the large-scale work based on Chinese legend deal-ing with notions of love, exis-tence and personal obligation. Expressionistic saxophon-ist Kidd Jordan, a long-time festival favorite and 2008 life-time achievement awardee, brought the heat early and often with his quintet of pianist Dave Burrell, saxophonist/clarinetist Hamiet Bluiett, bassist William Parker and drummer William Hooker. The 76-year-old Jor-dan has made his mark on stage and in the classroom, teaching the Marsalis brothers and many of the Dirty Dozen Brass Band. This set found each of the bandmembers hitting hard.

Burrell, a freak of nature when he gets going, teamed up with the nasty front line of Jordan and his World Saxophone Quartet partner, Bluiett, for some big fun, pummeling the altis-simo range with delight. Post-set, Jordan re-vealed, “I had some music but didn’t use it. Nevertheless, it was better like this, to be in-spired by the group, and at the end, I thought about Albert Ayler, and that came out. I really was feeling Albert at that moment…I play by

FESTIVAL REVIEW

Vision Festival Abrons Art Center, NYC, June 5 – 11, 2011

Review & Photos By Ken Weiss

Reut Regev


ear. I’ve been through that other thing, like lining up and playing changes. That was in my past life, but in this life, I want to play music, I want to play my music. Next time you hear me, it’ll be something else.” Pianist/singer Robin Holcomb made a rare trip east from her Seattle home with her 25 O’Clock Band. Her early playing oozed a sen-sitivity and vulnerability that was revealing while her later work was very penetrating and driven. Saxophonist Dave Sewelson, bassist David C. Hofstra and drummer Stephen Moses

sorted through Holcomb’s idiosyncratic mix of jazz, country, classical and folk. Two of creative jazz’ most individualistic explorers partnered up next – British extended technique guru, saxophonist Evan Parker, and adventurous pianist Matt Shipp, for an ad-vanced game of cat-and-mouse. They excelled frequently in call-and-response and an early convergence of Parker’s high ranging soprano saxophone and Shipp’s twinkling ivories made a magical connection. Parker’s late extended circular breathing solo on soprano unveiled his

unique skillset and led to an inflammatory high with Shipp arching his shoulders to leverage force. Shipp said afterwards that there was no real plan of action, “We’ve played before and I kind of know how he phrases and he knows how I build phrases so I feel that when I duo with him, that it’s a real dialogue of phraseol-ogy. I always try not to mirror him but to try to find the space between and phrase it a different way than he does, yet keep it related to the way he’s phrasing. You try to mix it up, you don’t want to sit there playing in the pocket all night and you don’t want to be free all night either.” Parker said, “I thoroughly enjoyed it, I’m still beaming from ear to ear. This was our first duo concert.” The night concluded with a midnight open conduction session led by saxophonist John Tchicai at the nearby Clemente Soto Velez Cultural Center and included a bevy of fine musicians ranging in age from ancient to young. Day 6 – Friday, June 10 One of the festival’s goals is to reach out to the local communities in order to foster a greater exposure for the creative arts. Friday’s schedule exemplified that with a 5 PM free performance just outside the Abrons Art Center involving the Gerald Cleaver Band with the Campos Youth, a throng of local children sing-ers. After some fun improvisational playing from Taylor Ho Bynum (cornet, trombone), Amir ElSaffar (trumpet), Joe Morris (guitar), William Parker (bass), Craig Taborn (keyboard) and Cleaver (drums), vocalist Jean Carla Rodea brought out the face-painted youth to the front of the stage and led them in song. The evening’s indoor activity began with Michael Wimberly’s AFRAZZ, a spirited world music, percussion-driven conglomerate, followed by an entertaining duet between dancer Emily Coates and violist Charles Burn-ham and then a Day 6 highlight, Paradoxical Frog (Ingrid Laubrock, tenor sax; Kris Davis, piano; Tyshawn Sorey, drums) augmented with special guest Mat Maneri on violin and viola. The barefooted Laubrock, originally from Ger-many and then England, has been known to reach the horn’s outer limits early and often but in this setting she demonstrated great restraint, adding subtle tension to Davis’ skeletal struc-tures and integrating the significant colora-tions drawn by Sorey and Maneri. At one point, Laubrock set aside her axe to whistle and vocalize into the mic before returning to roar through her saxophone. Their set built up slowly in a natural, unforced manner, branch-ing out as the band worked towards its goal of touching on every aspect of creative music. David S. Ware remains as uncompromis-ing and fiercely determined as ever, despite the recent kidney transplant and related neurologic weakness that has forced him to perform seated. He remains one of the most powerful

FESTIVAL REVIEW

Ingrid Laubrock


saxophonists on the planet. His new super-group, Planetary Unknown, made its world premiere, placing him in cahoots with like-minded fiends – Cooper-Moore (piano), Wil-liam Parker (bass) and drummer Muhammad Ali, brother of the late Rashied Ali. Seatbelts were a must for this set as Ware didn’t take many breaks and he wasn’t interested in being all warm and fuzzy. The big surprise was that somehow Cooper- Moore didn’t collapse the piano under the punishing force of his strikes. Their music was ferocious but retained a spiri-tual quality. Ali put on some display, leading one to question why he hasn’t been performing through the years. Afterwards, an exhausted Ware said, “This is just the beginning of this band, even though we’re building on 100 years of jazz. We’ll get deeper and deeper as time goes on. There was nothing said ahead of time, we just went and did it. I want people to take whatever they are able to receive from this music.” Guitarist Marc Ribot and bassist/violinist Henry Grimes completed the evening. Ribot acknowledged the previous group, “They set the bar so high,” and then validated why every-one from Elvis Costello to Tom Waits clamors for him, cranking out thrill after thrill. The two had a history of playing together, but never as a duo, and easily made the set work. Ribot was masterful at listening to his partner and reinter-preting. Asked for a comment post-gig, he said, “My quote is - I love the Vision Festival and everybody should support it. Tonight it was hot on stage but we tried to get to ‘that place’ and I think we did!” Ribot was later observed to receive his performance payment, count it, and then discreetly hand it all back to Patricia N. Parker to further support the cause. Day 7 – Saturday, June 11 After an afternoon featuring 80 young musicians from 4 NYC schools – York College Big Band, Mott Hall HS Percussion Ensemble,

Sonic Smithy Youth Orchestra and Achieve-ment First MS Orchestra, all part of Arts For Art’s Create A Musical Reach program, the festival’s final night introduced more wildly successful concerts. The downstairs stage hosted a mini-Mexican bonanza. Vocalist/percussionist/guitarist Geraldine Eguiluz, originally from Mexico, currently living in Quebec, hit solo, healing all who entered the space with some free-flowing energy. Mexico City’s Remi Al-varez (tenor sax, flute) followed with Dom Minasi on guitar, Ken Filiano on bass and Mi-chael TA Thompson on drums and proved there’s free jazz aplenty south of the border. Alvarez’ fangs came out while blowing with Aylerian intensity. Reut Regev R*Time Special Edition opened the main stage with Adam Lane on bass, Igal Foni on drums and special guest pianist Burton Greene. Regev, a former first

trombonist in the Israeli army band, had her trombone along with unusual devices – slide trumpet and a flugabone, an oversized flugel-horn that plays in the trombone register. A sudden, attacking start made a bold statement right off the bat before Regev’s unit branched out into free jazz squeals, rock, blues, Israeli folk themes and a Greene-driven funk-esque piece. Greene had traveled from his Amster-dam houseboat for the performance leading Regev to announce, “A lot of us have been nostalgic for the past but Burton Greene is alive now and healthy and kicking ass!” She later fessed up that she named her tunes after exotic locations such as Montenegro and Bali because, “I keep hoping they will invite me there.” A special mention has to go out to Greene, who brought his tuning equipment and tried unsuccessfully to tune the piano during the soundcheck.

The Connie Crothers Quartet fol-lowed with the festival’s highpoint for me. Richard Tabnik (alto sax), Ken Filiano (bass) and Roger Mancuso (drums) sparkled with pianist Crothers, whose extraordinary tech-nique was unbound from the restraints of her classical training. The quartet’s uncommonly compelling set included sections of blazing group play and delicate portions. At one point the music took on a filigree character and drop-lets of cool summer rain seemingly appeared. Crothers, Tabnik and Mancuso have been jam-ming on a regular basis for many years and have built up an eerie ability to finish each other’s musical thoughts in free-flowing im-provisation that is logically grounded. Croth-ers, a master artist who is well under-recognized, was a human mood ring on stage, absorbing her group’s performance and glow-ing responsively. She proudly discussed her band afterwards, “We always try to express profound feeling but not in a heavy way, there’s a lot of humor in it, a lot of lightness. We play together once a week and create music which allows us to contact one another’s intrin-

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Connie Crothers & Richard Tabnik


sic sense of musical logic. I’ve played with them all for many years but they surprise me every time, I can count on it and that happened tonight. I don’t know if you saw it but there were times I was riveted. I was sitting on the edge of the piano bench, my jaw dropped.”

The All Star – Mystery Collec-tive mingled movement with music when event producer and noted dancer Patricia N. Parker took to the stage with a handpicked group of heavies – Cooper-Moore on piano, Rob Brown on alto sax, Roy Campbell on trumpet, Jason Kao Hwang on violin, William Parker on bass and Gerald Cleaver on drums. The musicians found a striking chemistry early on and Parker’s athletic and emotive efforts brought to life the multifaceted themes covered. Campbell announced that the second song was “Lament for Billy Bang.” “It’s not just for Billy Bang but for the history of the violin going back to the gypsy music.” The composition opened mournfully, then brightened and eventually, after a drum and violin solo, the music broke into a gaily swinging New Orleans funeral celebration, lightening the mood. Brown and Cooper-Moore were especially impressive with their solos.

One of the festival’s most highly anticipated showdowns was the duo of saxo-phonist/English horn player Sonny Simmons, making a rare NY appearance, and pianist Francois Tusques, the pioneer of French free jazz music, making his first trip ever to Amer-ica at the tender age of 73. The two had col-laborated in the past in France a few times so they already had a connection and it showed. Tusques was outstanding, especially when soloing on his own sonata, as well as on “Theme for Ernie” and a blues piece. His ap-proach integrated a raw lyricism with intro-

spective ruminations. He was a fitting match for Simmons as both men have strong footings in traditional jazz. Simmons was impressive on soprano and tenor sax, his aching rendition of Monk’s “Round Midnight” was classic, but unfortunately, there were technical issues that thwarted his English horn from being used, leading him to broadcast, “I’m sorry I couldn’t be a hero today.” Simmons explained his statement afterwards. “My English horn’s reeds were no good, I soaked them too long in water and I couldn’t do my heartfelt thing. It broke my heart, I couldn’t play.” About Tusques he said, “This guy’s very knowledgeable about the music and he listens to me when I’m playing. The other guys, they’re on their own, you dig it? They’re so ab-sorbed in their own stuff, they for-get about the other guys. Playing with Francois, it’s wide-open fields, strawberries forever! I thought overall, with a few flaws, it was a great show.”

The Vision Festival ended appropriately with a city of musi-cians on stage playing tribute to Billy Bang, the iconic violinist/composer who died in April of lung cancer at the age of 63 and who was to have played this spot in the festi-val had he survived. Bang, who served in the United States Army and saw frontline duty in Vietnam, including battle in the Tet Offen-sive, released two cathartic re-cordings in the early ’00s, Vietnam: The Aftermath and Vietnam: Reflec-

tions which proved to be high-water marks for his career. What was originally to be a 25-piece string ensemble grew to roughly 40 art-ists who crowded the stage. William Parker, a longtime Bang associate, directed the ensemble through works including Bang’s masterpiece composition “Mystery of the Mekong” and also “Saigon Phunk,” both taken from his first Vietnam recording. Emotions ran high on stage and in the audience as the purifying resonances echoed about. The finale came with the mass of musicians remembering Bang with fervor, blowing and strumming with abandon. We’ll end this review with words from 3 of the par-ticipants. Michael Wimberly – “Just to have his music come alive, he’s here. Some of the com-positions we played tonight take on such an orchestral form. He traveled the world in order to absorb emotion and culture and it breathed through his music tonight.” Roy Campbell – “Billy was a genius and his music was tran-scendental and covered all musical styles.” William Parker – “Playing Billy’s music to-night was a great honor. It was actually the first time I played his music without him. Billy always built things off a bass line and a mel-ody, it had a Latin/Asian feel but these compo-sitions were really directed out of his experi-ence in Vietnam. He was just beginning to heal.”

Performance Reviews

Dick Griffin

William Parker

May 2011 Jazz Inside Monthly www.JazzInsideMagazine.com 49 To Advertise CALL: 215-887-8880

PERFORMANCE SPOTLIGHT PERFORMANCE SPOTLIGHT


JI: Lets start talking about something that’s not what people usually know about you - namely your art, your paintings. DG: Well, art-wise, I’m going to be working on some large works for the whole month of Au-gust. JI: Give a little, background on the nature of your art? DG: I was good at drawing in high school, and there were two guys in high school that were pretty good too - a guy named Paul Campbell and a guy named Walter Jackson. So we were the three artists that could sit down, and the girls would come by and say, “Draw me”. That was one of my skills that I had in high school. But I also got interested in playing the trombone when I was in the seventh grade. I finished high school and started to major in music, and I kind of pushed art aside. I never thought of majoring in art, or being a painter, or doing anything with art. Fast-forward to ‘85, when I moved to Paris to do a Broadway show called “Black and Blue”. I ran into a lady who was doing watercolors. I would go out and speak with her every day to sharpen up my French. I told how her how much I liked drawing and that I used to draw in high school. She asked why I had stopped and I told her that one thing led to another and I just

stopped. I had this dream- it was colors just spin-ning around. It was in ‘85. I didn’t do much with it. I studied with an artist there, but I didn’t like his style. I finally talked myself out of painting in Paris because I said, “Well, what am I going to do with the paintings, I can’t really bring them home.” So I came home, and lived in Teaneck. The place had wall-to-wall carpet, except the kitchen. So I taught myself how to paint in that kitchen. I finally got a place in Manhattan in 1989. Freddie Waits [drummer], a very special friend of mine, passed away in November ‘89. We grew up together in Mississippi from the first grade through college. He was like a brother to me. I thought to myself, well, he would never know now that I can paint, and if I don’t get

started, no one will know that. So I went to the art store and bought two sketch pads, a 9” by 12” and an 18” by 24”, and some pastels (the chalk type), and started to paint. JI: What did you do with those early pastel illustrations that you were doing? DG: I have all of them. I sold a few. I didn’t like to sell my work. I still to this day have problems parting with my work. I was fortunate enough to sell 20 pieces to a corporation. JI: Are you photographing all your work before you sell them. DG: Oh yeah – I document it, I photograph it. In fact, I’m going to do a book of some of my art-work within the next year. But for ten years I didn’t let anything go. If somebody came to buy a piece, I would price it very, very high so that I would ask $10,000 for a piece of my artwork. I guess I had to learn to grow. Somebody told me, “Listen, you paint, you do your art to share with the world, for people to see. You play your mu-sic for people to hear.” A lot of people in the art world are just now discovering my music and in the music world, just discovering that I am a

painter. Now I’m ready. I guess you mature to a point where you get past insecurities. I do my art for me in a sense. When I say I do it for me, I’m very critical and very hard to please. So when I do a work it takes me a long time to really say that work is finished. I’ll mess it up sometimes – I’ll work on a piece for a year, and then put something on it that just messes it up. I’ll feel like I have to start over. Painting to me is just like composing – I’ve got songs that I’ve written the first eight bars and can’t resolve the last two bars. You know some people like abstract work, and some people hate abstract work. Some peo-

ple love figurative work, and some people hate figurative work. But then – art is like that. Some people like avant-garde music, some people like straight-ahead music, some people like country-western music, some people like baroque or classical music. So I really just now understand it. I might not like a piece that I have done, but somebody will love it. JI: You work on large canvasses that are really extraordinary and striking, in terms of color and size. How did you evolve from the sketch pad to these large canvasses and to oil painting? DG: Good question. Because, I keep a neat place, you know, I didn’t paint when I was in Teaneck with carpet on all the floors. I was in this apartment, and I didn’t want paint dripping all over the place. With the pastels, I didn’t have to worry about the mess. But I started to paint and I went to a framer and I got some shows. I was in this show with Danny Simmons, whose brother was the great Russell Simmons. So Danny and I had been in shows, and I had shown at his gallery in Brooklyn called Corridor. He liked my work and wanted me to put some of my art in an exhibition at his friend’s restaurant. Then he just put his hand on my arm and said, “Big pieces!” Now he had never seen me paint any big pieces and I didn’t have any big pieces, so I bought two standing canvasses – they were 3 feet by 5 feet- brought them home and started to work. Meanwhile, Ed Clark, the great abstract expressionistic artist, came into my life. He liked my work and gave me the only solo show he’s ever given an artist in his studio. That was in ‘98. Ed only painted really large pieces – 10 feet by 15 feet, all kinds of really, really extremely large paintings, and I really admired his work. He was my mentor, and I was his little best friend and protégé. So, after he had given me this show, we became very close. I called him to come over when I started to paint, and for about a year he would come over and he’d look. He would say, “It doesn’t look finished.” I was try-ing to get to him to tell me what I should do. But he would never tell me what to do – he would just come over and say, “Hmm, ok, you haven’t ever painted this big, I can see that.” One day I


Feature Dick Griffin Trombonist, Composer, Arranger, Painter

Interview By Eric Nemeyer

Visit www.DickGriffin1.com

Phot

o by

Ken

Wei

ss

“Your dream is waiting for you to become true. Instead of you waiting for your dream to become true, your dream is

waiting for you to become true.”


was messing around with the paint, and I just spilled it on the canvas – just knocked it over. It splattered all over the canvas and in frustration I just pushed it around with my hands. And I thought, wow, that looks pretty decent. So I called Ed over, and he walked in and said, “Wow!” He sat down and talked about it, analyzed it for about 15 minutes. He said, “Okay, you’re on to some-thing — keep going.” And that’s what I did. So I started to paint big from that day. Then he told me, “Look – I’m going to do something I never did for any artist. Come over to my studio, I want to show you something.” He invited me to his studio and did a painting in front of my face. He showed me how he works in colors and everything. He said, “I want you to use this any way you want to.” After that, let me tell you, I was so proud that he had showed me how he worked. I went and bought a lot of big canvasses. You know, I took 12 pho-tographs. I was showing them to a friend at The Macy Gallery up in Columbia University, and the curator of that gallery was looking over my shoulder. She picked out two pieces right there and then. she said, “I want that one, and that one – you’re in the show!” This was a juried show and you have to submit your work for approval, but she said, “These two, I want in the show – don’t worry about submitting.” So, I went to the framer for the two paintings and when I was there I showed him my twelve photographs. He said, “Don’t talk to me about doing anything yet. Go around and see my friend Ernie.” - which was the next street over. I took them to this guy, and he said, “Can I hold on to them?”, and I said, “Sure.” This guy held on to them for about three weeks and I was starting to wonder if he was copying my pieces or sending them to someone? Finally, after about three weeks the guy calls me up and says, “My boss wants 20 of those pieces.” I only had twelve pieces, but that very day I bought fifteen more canvasses and went straight to work! I was fortunate that year when I sold 20 paintings to a corporation, and sold maybe 12 or 15 to other private people. That kind of opened it up, so I finally started to really let my work go and sell it. Sometimes people can’t afford my work, so I barter. I’d rather do that then sell my paintings for something that I wouldn’t be happy about. JI: You’ve played with many luminaries in the jazz world - Duke Ellington, Count Basie, Ella Fitzgerald, Mingus, Dizzy. Could you talk a little bit about each of those? DG: When I first came here, I started playing with Rahsaan Roland Kirk. In fact, I hadn’t even moved to New York but I just came for the summer. In ‘64, the original Birdland was still happening. John Coltrane performed there, so did Cannonball and a lot of other bands. So Rahsaan introduced me. He was living on Central Park West. He took me down to the Five Spot and introduced me to Mingus. Mingus asked me if I wanted to sit in. I said sure. Then he introduced me, “Ladies and Gentlemen, we have Rolland Kirk’s cousin sitting in with us.’” We played “C Jam Blues”, and that was the first time I met and played with Mingus. J.J. Johnson was still living here in New York, and he was just getting ready to move to the coast. He said, “Who’s that kid over there on the trom-bone?” So I met J.J. That’s when the Five Spot, was on 8th Street, in that little section right on the corner of 8th Street and The Bowery. I went back after spending that summer in New York, and it might have been the time when Sun Ra had moved to New York. When I was in college at Indiana University, I would come to New York, and play with Sun Ra on Monday nights at Slugs. And then after I moved to New York, I started to play with him regularly. But Rahsaan Roland Kirk was probably the first person that I really, really got tight with. I met him when I was going to Chicago, and there was a trumpet player named Alvin Washington – we called him “Chop Shop”. He told me about this blind guy who played three horns at one time. I didn’t believe it. So I finally came to Chicago and met Rahsaan. When I got out of Indiana, I was going in and out of New York to play gigs and hang out. I met Monk while I was play-ing with Rahsaan, because we used to play opposite Monk at the Vanguard. I never played with Monk, but we used to hang out in the kitchen and he was very, very nice to me. He liked me because he heard me do the multi-phonic. I was playing three notes, or two notes or whatever, and it stopped him in his tracks. And he said, “Play that again.” From that time on, we would talk to each other. He would come in to the dressing room and the guys would come around, he’d throw his arm out and I would play the multi-phonics, and he’d say, “Check that out.” So we got to be a little team there. From there, I met Clark Terry. I was in Clark Terry’s big band, and we used to play at a club called Club Baron in the 70’s. They declared April “Jazz Month” and Clark Terry’s band announced it. Mayor Lindsay was the mayor, and Duke Ellington was the guest of honor. Duke sat in with Clark Terry’s band, and there again we were playing “C Jam”, and I had the solo. So I’m playing my little solo, and



Duke looks over my shoulder, cheering me on, smiling, saying, “Go!” That was my claim to fame, to play with the great master, Duke Elling-ton! Al Grey called me many a time to come out and sub for him in Count Basie’s band. I used to do two and three weeks for him. One time he called me out, and he says, “I want you to take two weeks.” After two weeks I had planned to do something in New York, so I said okay, I’ve done the two weeks. So, you know, I really trav-

eled more than once with that band. Mingus got a Guggenheim grant, in the early 70’s and I was in his big band. He had two trombones, Eddie Bert and I. I think there were five saxophones, three trumpets, piano, bass and drums. My son bought a book with photographs that Milt Hinton had taken, and our picture is in the book when we were in Philadelphia. JI: When was that? DG: It was ‘72. JI: I was at that concert. It was at the Walnut Street Theater in Philadelphia. DG: That’s right. JI: It was at midnight, I think. DG: Yep. JI: Jon Faddis was playing trumpet, Bobby Jones was in the sax section. I think it was Feb-ruary of ‘72. DG: You hit it right on the head. It was ‘72, February. That’s right. It’s in the Milt Hinton book – Over Time - Jazz Photos by Milt Hin-ton”. When I first got in Mingus’ band we played this song “Black Saint and the Sinner Lady”. During those times, we’d always did six nights at every club. Every club was Tuesday through Sunday. So we were working at the Vanguard, and we were playing the “Blues in F”. We got up and I’m playing blues, playing the first chorus in F, and then the next key it went to was B. Then the next key went to F sharp. I had pretty good pitch so it didn’t bother me. That night, after the gig, Mingus called me up and

said, “Dick Griffin, this is Charles.” (He didn’t like people calling him “Charlie”). I owe you an apology.” And that was really strange, because I didn’t know what he owed me an apology for? He said, “You know what? I was mad at you – I owe you an apology. Do you need a draw?” In those days, if people liked you, they would give you a draw. You could draw every night. He went on to explain. He said, “Man, I was mad at you. You were the only person that impressed

me tonight when you played, because none of the keys I put up didn’t bother you at all. And I was mad because I thought when you jumped up and played “Black Saint and the Sinner Lady”, you didn’t know what you were doing”. He said, “Two things I was mad at you for - when you got up and played I didn’t think you were there. And you seemed to go slow, and you also sent somebody who couldn’t play as well as you. So don’t ever do that again” He said – he called me on it – he said, “Any time you send a sub, send somebody better than you.” He also said, “But man, you impressed me.” And then after that, he would call me every night and we would talk from 2 until about 5 in the morning. He would talk and just share everything. He really liked my compositions and I would play them for him and would tell me that I should record them. So we got to be the best of friends. He really, really, dug me, and I couldn’t do no harm. It’s some-thing – once you got on the good side of Mingus, you couldn’t do any wrong. He wasn’t going to mess with you. We stayed really, really good friends. At the time I was married, my phone would ring, and my wife would say, “Here’s your friend.” She’d just answer the phone and pass it to me because she knew it was Mingus. So that was my association with him. I had that sort of association with Art Blakey as well. I had just gotten to New York in the late sixties and I played in his band for about a year. But he was-n’t recording, and things were kind of slow. And then, when we took the band to Europe, I’d just gotten married and I wasn’t ready to start to do a lot of jumping around. I had a teaching position at an elementary school up in Harlem, PS 208 on 111th Street. But he really dug me, because I was clean living, never did any drugs. He ad-mired that about me. When I was living in Paris he would come and he would say, man, come out and play. Art Blakey was quite a musician. He could play piano too. I never heard him play piano, but I heard that he could really play. Jack Walrath said that he sounded like Monk on the piano. The story goes that back in Pittsburgh, he and Errol Garner were both playing piano when some ‘gangster’ told him, “Look, Errol Garner’s going to play piano. You play drums.” And he

never looked back! Mingus could play the piano as well – he really could play. He’d just sit down and play. I’ve worked with Donald Byrd, I’ve worked with Chick Corea. Chick Corea was in one of the bands that Donald had. We worked a week at the Apollo Theater. Donald and I started to teach junior high school together in’68. That’s when I met my wife. I met her out at the school, and shortly after that I got married. Donald was doing a regular teaching thing, and we lived on 84th Street, and he lived on 79th, I think. He had a Jaguar, so he would drive out to Brooklyn, and we would ride out together. And man, I got so many stories about the music, and his association with John Coltrane. JI: Do you remember any in particular? DG: I worked for two years with Bill Barron up in Wesleyan, and all I did while I was there was talk to him about Coltrane. Ed Blackwell was up there, so I would talk to Ed Blackwell about Ornette Coleman. Marion Brown was studying up there. So I would go up on Sunday night, I would teach on Monday then I would have Tues-day for what they call “office hours”. I was liv-ing in Teaneck at the time. Ed Blackwell and Marion Brown would get together and they wanted to know what was going on in New York. We’d just talk about the music. And Bill Barron would tell me all those Coltrane stories. One of the stories is about Coltrane practicing so much. Bill would go over to Coltrane’s house, and Coltrane would meet him at the door with a horn around his neck, blowing, and talking out of the side of his mouth. And they’d sit down, and they would talk about life, women, girls, whatever. And Coltrane would always be talking but between conversations, he would be on the horn. Bill, he’d feel so bad, he’d go home and practice. Every time he went over there he’d say to himself, “I’ve got to go home and practice myself.” JI: Could you share some words of wisdom or inspiration that you’ve heard or subscribe to. DG: Your dream is waiting for you to become true. Instead of you waiting for your dream to become true, your dream is waiting for you to become true. I thought about that, and the thing about it is that it only takes the same amount of time to do a lousy job as it does to do a good job. It’s the same thing with my art, and when I play the trombone. It takes the same amount of time to play a decent solo as it does to play something that you get bored with, or that they get bored with. It’s a mindset. That’s what I come away with from all of this stuff I’ve experienced being around the giants.

On the opposite page is a reproduc-tion of Peace in the air #9, a large work, 60” X 40” acrylic on canvas, created by Dick Griffin in 2002.

“ … once you got on the good side of Mingus, you couldn’t do any wrong. He

wasn’t going to mess with you. We stayed really, really good friends.”

“The difference between the right word and the almost

right word is like the difference between lightning and

a lightning bug.”

- Mark Twain

August 2011 � Jazz Inside Monthly � www.JazzInsideMagazine.com 51

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Wednesday, August 03, 2011 15:06


Eric Alexander DON’T’ FOLLOW THE CROWD — www.EricAlexander.com. Nomor Senterbress; She’s Out of My Life; Footsteps; Charade; Don’t Misunderstand; Remix Blues; Don’t Fol-low the Crowd; Cavatina from “The Deer Hunter.” PERSONNEL: Eric Alexander, tenor saxo-phone; Harold Mabern, piano; Nat Reeves, bass; Joe Farnsworth, drums. By Eric Harabadian Tenor saxophonist Alexander bursts out of the gate with a mighty horn sound reminiscent of George Coleman, John Coltrane and Lester Young. The 40-something leader has been on the jazz scene for over 20 years and brings a wealth of experience and unique taste to the table. His mainstay pianist Mabern is versatile and adap-tive and the rhythm team of Reeves and Farns-

worth is remarkable as well. The program is a mixed bag of original modern bop compositions, select pop hits and film soundtrack rarities. Alexander begins with the exotic Mediterranean-styled piece “Nomor Senterbress.” His tenor tone is thick and weighty, with a formidable presence that really grabs your attention. The modern pop ballad “She’s Out of My Life,” which was made fa-mous by Michael Jackson, seems to lend itself very well instrumentally in the hands of the sax master. Alexander’s approach is one of patience and reflection; pondering on the sentiment be-hind the piece. His Phil Woods-type sonority suggests something taken from a page out of the Great American Songbook. “Footsteps” follows and is a nice bopping samba-inspired composi-tion. The saxophonist’s tone is exceptional and truly on point here. Henry Mancini’s classic “Charade” is filled with great comping by Ma-bern and a lilting waltz feel throughout. Also included are other quirky and unlikely terrain for jazz fare like the Gordon Parks composition “Don’t Misunderstand” from that director’s ‘70s action smash Shaft’s Big Score and the track “Cavatina” from the Robert DeNiro vehicle “The Deer Hunter.” Eric Alexander possesses a talent for being able to select music from various genres and sources and mold and shape them into palatable and effective improvisational material. He is a modern jazz force to be reckoned with and one to keep an eye and ear out for in the years to come!

Augmented Reality AUGMENTED REALITY – Daywood Drive. www.daywooddrive.com. Tabacon; Alfonsina Y El Mar; Sphere; Morning of Sorrow; Stone and Son; Only Trust Your Heart; Ohel Israel; Dry Tear; Un-; Leaving; Budva. PERSONNEL: Roy Assaf, piano; Ronen Itzik, drums; Jorge Roeder, bass. By Mark Keresman Ah, the power of “three”—whether it’s witches, stooges, musketeers, or jazz trios, there’s a certain something about interaction in a triplicate context. Giving, taking, juggle-‘n’-jousting, empathy, and even forms of telepathy are possible in a three-member ensemble. Aug-mented Reality is recent addition to the ever-popular piano trio sweepstakes, and despite their somewhat portentous moniker their self-named platter is a fine set of absorbing, cerebral jazz. One of the admirable qualities of the Real-ity disc is that it’s not easily categorized. It’s

post bop but closer to the ECM school of sound than that of Blue Note (with a notable excep-tion); there’s plenty of subtle group interaction (yet they don’t evoke any period of Bill Evans Trio, the gold standard of trio interaction), it’s moody and reflective (while sidestepping sterile noodle/doodle abstraction) yet when these lads want to, they can swing with the best of ‘em. There are nods to traditional Hebraic musical forms yet it’s not world-fusion jazz. What is it? It’s an eloquent swinger like “Only Trust Your Heart” composed by Benny Carter (one of the three non-band compositions here)—driven yet amiable, loaded with the old-school charm and pleasurable melodicism of Carter. “Ohel Israel” maintains that groove albeit with a minor-key melody subtly evoking wide-open Middle East-ern spaces. Ronen Itzek’s crisp, almost volatile drumming seems to engage the gentle folk-tinged piano of Roy Assaf in a pointed dialogue throughout that’s quietly invigorating. On “Dry Tear,” Assaf’s keys recall the nimble breezy-yet-almost-funky qualities of Herbie Hancock’s mid-‘60s Blue Note era. It’s the strutting, loping “Un”-that flirts with the soul-jazz sound without ever quite getting there, giving the piece a tasty, tense ambivalence, mixing caginess with earthy joy. Save for the thundering drums, “Alfonsina…” could well be one of Bobo Sten-son’s rapturous rhapsodies. (I could do without someone “singing” along with his playing, though.) The performances of each player are fine, yet this isn’t a “soloists” session (while there are some nice solos, to be sure)—Augmented Reality, as a whole, is an ensemble piece. As you may’ve surmised, this Reality is about sharp contrasts, but these contrasts, never quirky or outré for its own sake, are interwoven in a fascinating, almost seamless fashion. It’s a challenging set that’s never “work” to enjoy.

Corina Bartra CIELO SANDUNGUERO — Blue Spiral. www.CorinaBartra.com. A Saca Cmote con el Pie; Moliendo Café; Warriors of the Sun; No Valentin; You Took Me By surprise; More thann You Can Afford; Night and Day; Guajira Son; Cannturerias; Aguacero; Magia y Ritmo ances-tral; Enlightened Heart. PERSONNEL: Corina Bartea, Clare Cooper, vocals; Zaccai Curtis, piano; Bruce Williamson, Derrick James, saxophones; Justin Mullins, Sam Hoyt trumpet; Andy Hunter, trombone; Moto Fukushima, bass; Vince Cherico, drums; Perico Diaz, percussion.

CD Reviews


By Bob Gish Latin jazz has plenty of stars and plenty of great songs. And you can’t discuss that tradition without giving due acknowledgement to Corina Bartra. This CD extends and deepens here name as part of a living musical stream of jazz, more and more becoming recognized as part of the mainstream rather than an isolated tributary. One of the favorite tunes from the tradition, done up royally here, is Jose Manzo’s Moliendo Café. No finer version can be heard in what seems a kind of epitome performance. The voice is strong. The lyrics are sung in both English and Spanish in a kind of symbolic statement of Latin jazz’s flowing into the larger confluence of jazz streams. The trumpets, the saxophones, the percus-sion, the forms of salsa and bolero, the rhythms fast and slow, all compliment each other and Bartra’s voice. There’s even a Cole Porter song included, again an example of merger, in this case of Night and Day. The only thing that would beat listening to this CD would be to hear the music live and be able to dance the night away relishing it.

Larry Gray THREE EQUALS ONE—Chicago Sessions CS0015. King Vita-Man; Waltz for Lena; Be-yond; Be-Bop Blues ( for Barry Harris); Karolyn; Blank State; Hail to the Chief ( for Wilbur Campbell); Triceratops; Soffi’s Lullaby; Mysterious. PERSONNEL: Larry Gray, double bass; John Moulder, electric and acoustic guitars; Charles Heath,drums. By Eric Harabadian This album is a follow up to Gray’s Chi-cago Sessions label debut 1,2,3, which was a collection of solo, duo and trio tunes. This cur-rent project is a fully realized ensemble, with Gray as the sole composer and Moulder and Heath as equally billed participants in this ven-ture. Gary is a more than apt leader and has a diverse and all encompassing flair for composi-tion as well. The album begins with a track called “King Vita-Man.” The trio comes out swinging, with Moulder evoking early Pat Metheny and Grant Green via neo-bop harmonies and edgy lead lines. That’s followed by the slow and brooding “Waltz for Lena.” The rhythms languidly trail the guitar as Gray accompanies with an explora- (Continued on page 54)

CD Reviews


tory solo. Moulder lightly punctuates with em-pathic comping and Heath adds atmosphere and color. “Beyond” breaks things down in a loose and sparse manner. There are some brilliant and combustible solos here. “Be-Bop Blues (for Barry Harris)” tips its hat to the Detroit-born composer by way of Moulder’s Joe Pass meets Jim Hall traditional phrasing and swing. Named for his wife, Gray’s “Karolyn” is slightly melan-choly and atonally dark. It is, however, rounded out by the beauty of the bass and guitar counter-point and harmonic simpatico. “Blank Slate” takes things in another direction by way of angu-lar and challenging melodic ideas. The vibe here is lithe and free, showcasing Moulder at his most adventurous. “Hail to the Chief (for Wilbur Campbell)” begins with herky jerky staccato rhythms. It resolves into swing as Moulder and Gray drift in and out of each other’s improvisa-tional space. “Triceratops” spotlights Heath as he opens the piece with an unaccompanied rubato drum section. Moulder brings some grit to his tone ala Mick Goodrick or John McLaughlin. Gray unleashes his bow for some low-end fun in the cello range. Written for his daughter, “Soffi’s Lullaby” is Gray at his most sensitive and classi-cally-inspired. This is a thoughtful and beautiful piece truly brought to life by Moulder’s smooth acoustic work. Finally, “Mysterious” concludes this fine disc, with a ‘60s flavored straight ahead jazz tune. It is a sweet and Miles-type number that is melodically catchy and easy to grasp.

Lee Konitz, Brad Mehldau, Charlie Haden, Paul Motian

LIVE AT BIRDLAND – EC M. www.ecmrecords.com. Loverman; Lullaby of Birdland; Solar; I Fall in Love Too Easily; You Stepped Out of a Dream; Oleo. PERSONNEL: Lee Konitz, alto saxophone; Brad Mehldau, piano; Charlie Haden, bass; Paul Motian, drums. By Mark Keresman Three elder statesmen (statespersons?) and one serious contender are recorded live and without the proverbial net. During a week-long stint at NYC’s Birdland, these four pros, all with varied and shared histories, decided to perform without a set list made in advance. The result, if not historical, is darn fine, exemplary jazz. Brief background info: Emerging in the 1940s, Lee Konitz was at the nexus of big bands and bebop era, of hot and the cool (he played on Miles Davis’ Birth of the Cool album) and he was one of jazz’s first true avant-gardists. Char-lie Haden too lives at the corner of Mainstream and Avant-Garde Streets, he was a member of Ornette Coleman’s groundbreaking quartet and with Paul Motian played in Keith Jarrett’s quar-tet. Before establishing himself as a bandleader, Motian was (and remains) one of jazz’s most individualistic drummers—he plays as an Im-pressionist paints. Unfailingly lyrical, Brad Mehldau is the youngest of the four and his re-cordings are among the best piano trio albums of the past decade (or two). The opener “Lover Man” has Konitz’s alto smooth and velvety but not sweet—it’s a sound like no other. Mehldau makes like Monk (Thelonius, of course)—not style-wise, but in the sparing use of notes and subtle use of space(s). “Lullaby of Birdland” (writ by the recently-passed George Shearing) finds Motian’s light, precise swing propelling it along while Haden’s pliant, buoyant bass lines course through the piece like blood. Konitz is semi-sweet here, his lithe sax lines floating with purpose and ele-gance, while Mehldau fuses the lyricism of Bill Evans and the percussive aspects of Monk and Dave Brubeck. Sonny Rollins’ “Oleo” is a study in contrasts—Mehldau’s flowing yet spiky play-ing and the subtle shifting of tempo throughout by Haden and Motian, Konitz getting a deeper, somewhat burnished sound that evokes the surg-ing quality of Rollins and the dry-as-three-martinis erudition of Paul Desmond…and listen to the way LK essays the blues on “I Fall in Love Too Easily.” Live at Birdland is not a classic, but it is



what it is: Four swells with plenty of experience going to town on a bunch of standby-standards, remaking them as they go with plenty of flair and warmth…it’s only, merely very fine.

Steven Kroon WITHOUT A DOUBT SIN DUDA—Kroonatune Records. Monterey; Sabro Songo; Nascimento; Mizu (Agua); Tombo 7/4; The First Time (Ever I Saw Your Face); Pamela; On 2; Sou Eu (Luanne); With Out A Doubt. PERSONNEL: Steven Kroon, percussion; Craig Rivers, flute; Bryan Carrott, vibes; Ruben Rodriguez, bass; Diego Lopez, drums; Igor Atalita, piano; Special Guest: Bobby Franceschini, saxophone. By Eric Harabadian On this, his fourth release, leader Steven Kroon continues to bring his robust and authen-tic Latin rooted jazz grooves to the masses. This is a vital record filled with a ton of heart and danceable rhythms. “Monterey” seems apropos in that it sug-

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gests the cool jazz vibe of the California coast. In particular, Bryan Carrott really shines on vibes. That’s followed by guest saxophonist Franceschini’s “Sabro Songo.” It is a strong mid-tempo samba that has a nice ascending/descending chord sequence and a collective en-ergy from all soloists. “Nascimento” by Detroit composer Barry Harris is next up featuring a lyrical and laid back use of space. There’s also a consistent rhythmic pocket at work here too. “Mizu (Agua)” finds the band digging deep in a Brazilian style. Kroon really locks it down and provides a supple and supportive bed for the vibes and flute. There is kind of a bluesy ap-proach in the solos and the orchestration by ar-ranger and composer Zaccai Curtis is excep-tional. The Airto Moeira classic “Tombo 7/4” has all the energy of the original and is handled at a brisk pace. Carrott’s vibes and Franceschini’s sax intermingle and trade off very well. Perhaps the wild card in the deck is not wild at all, but rather a faithful and mellow ren-dition of the Roberta Flack nugget “The First Time (Ever I Saw Your Face).” Vocalist Carla Cook delivers a rich and smoky performance drenched in romance and tempered with soli-tude. Bobby Watson’s “Pamela” follows with a bouncy and vibrant Latin beat. Its core is pure bebop where each soloist gets equal time to blow. “On 2” is a spicy cha cha number, with an unorthodox melody. Kroon, bassist Rodriguez and drummer Lopez put the spark in “Sou Eu (Luanne).” It contains a mid-tempo funky groove that inspires bright and effervescent solo-ing on bass and flute. The final selection is the only one on the disc co-written by Kroon him-self. The title track “With Out A Doubt,” also written and arranged by pianist Igor Atalita, has a nice and easy waltz quality to it. With a number of side musicians, compos-ers and arrangers to keep track of, Kroon proves to be an effective and charismatic leader as well as percussionist. This is a no nonsense straight ahead Latin jazz record and preserves the genre while, at the same time, elevating it to new heights!

Junior Mance LETTER FROM HOME—Jun-Glo Music JG 103, Holy Mama; Home on the Range; Jubila-tion; Letter From Home; The Uptown; Medley—Sunset and the Mockingbird/A Flower is a Love-some Thing. PERSONNEL: Junior Mance, piano; Hide Ta-naka, bass; Kim Garey, drums; Ryan Anselmi; Andrew Hadro, baritone saxophone.

By Eric Harabadian Recorded live at Café Loup in NYC on March 6th, 2011, this is the Junior Mance Quin-tet presented in all their current and unadorned glory. What you hear is an ensemble at the top of their game led by one of the all-time greats of

the keyboard. Their set list is raw and visceral, yet delves into the romantic and pastoral as well. From the get go there is no doubt that this disc is “live.” The opening track “Holy Mama” swings hard by way of front line sax men Anselmi and Hadro. Their dual horn delivery packs a wallop and hits you with a gritty and


CD Reviews


soulful edge. That’s followed by the country& western standard “Home on the Range.” This is not exactly something one would necessar-ily associate with the typical jazz canon but then this is not a typical jazz band. In particu-lar, Mance brings a reverence to the original melody and spirit of the piece, but infuses it with a Ray Charles-like gospel feel. “Jubilation” continues that pseudo gospel experience, with bright and cheery solos by the woodwind-fueled front line and a mighty groove by drummer Carey that really propels this one into orbit. The title track “Letter from Home” swings in a mid-tempo fashion, with a robust and visceral energy. The piece has a somewhat epic quality reminiscent of Cannon-ball Adderley or Charles Mingus. “The Up-town” keeps the fires burning, with a sophisti-cated and urbane piece; simple in construction and a nice take on the blues. Mance and com-pany complete the evening with a medley of standard fare that concludes on a mellow and thoughtful note.

Heiner Stadler TRIBUTE TO BIRD AND MONK – Labor Records. www.laborrecords.com. Air Condi-

tioning; Ba-lue Bolivar Ba-lues-are; Au Pri-vate; Straight No Chaser; Mysterioso; Per-haps, PERSONNEL: Heiner Stadler, arranger, conductor, producer; Thad Jones, cornet, flu-gelhorn; George Lewis, trombone; George Adams, tenor sax, flute; Stanley Cowell, pi-ano; Reggie Workman, bass; Lenny White, drums; Cecil Bridgewater, trumpet (replaces Jones on track 2); Warren Smith, tympani

By Mark Keresman Return with us now to those thrilling days of yesteryear—namely, 1978, when “tribute albums” weren’t as commonplace as they’ve become in the last 10 or 15 years. That year Polish-born, NYC-based arranger/composer/producer Heiner Stadler conceived a tribute to Charlie “Bird” Parker and Theloni-ous Monk and originally it was available as a two-LP set on the elusive Tomato label. It featured some of the best players of that (or any) time—including Thad Jones, George Adams (then in Charlie Mingus’ band), and Stanley Cowell—performing radical interpre-tations/re-imaginings of Monk and Bird clas-sics. It’s been available intermittently ever since. Now, on the revived Labor label, it’s available again—perhaps its time has come. Tribute isn’t a cozy, nostalgic, or overly defer-ential re-visit to standards by a couple of iconic figures—it’s a wild ‘n’ woolly, some-times harrowing rave-up/blow-out wherein the players take classic tunes to the edge. “Au Private” swings mightily, George Lewis going to town with a blistering, punchy solo, the thorny ensemble work evoking that of the Steve Lacy Sextet (of which Lewis was a member) and George Russell’s big band(s). “Straight No Chaser”—a 20-minutes-plus workout—here becomes a clarion call for The End, Stadler’s arrangement seething with apocalyptic ferocity. As to be expected, the performances are top-notch. It’s unusual to hear Thad Jones in a context with such “out” compatriots (I refer to Lewis and Adams, of course), but he more than holds his own, and some of the abandon of his mates rubs off on him. Adams is bril-liant here—his playing has some of the rip-roaring aspects of Albert Ayler and the bebop-in-overdrive wail (and focus) of Johnny Grif-fin. Reggie Workman is at his supple, rippling best. At the time of this recording Lenny

White was into fusion/funk madness, but he is turbulent and (yes) swinging. Stanley Cowell is subdued but lyrical as ever. Those with reservations about free playing, be warned—Tribute is not an easy listen. For those valuing “out” playing in a forceful, swing-laden con-text—dive in!

Rick Stone FRACTALS—www.jazzand.com. Stella by Starlight; Fractals; Key Lime Pie; Darn that Dream; Scoby; Nacho Mama’s Blues; Smoke Gets in Your Eyes; Places left Behind; Speed bump; Ballad for Very Sad and Very Tired Lotus Eaters; The Phrygerator. PERSONNEL: Rick Stone, guitar; Marco Panascia, bass; Tom Pollard, drums. By Bob Gish Call it hard bop, call it fusion, call it mo-dal, call it intervallic, call it fractionalized, call it “fractalized,” call it great good stuff, especially for guitarists. Stone knows his scales, his arpeggios, his fret board, his changes, his theory, and his timbre and tonality. And he knows how to balance a set list with new compositions and old stan-dards. He does much of it himself, certainly placing himself and his rather tubby-sounding, yet appealing guitar in front of his trio. But this isn’t solo guitar; it’s ensemble playing, taken all in all. Guitarists are, of course, cut from many cloths. Similarly jazz guitarists all have a unique sound and approach. Those players who like long lines, lots of notes, even notes approaching and departing

- Rachel Hoffman

“Stop comparing yourself to what is

merely someone else's "highlight reel." Behind the

curtain, things aren't as perfect as what's on the surface. Focus on

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you're using as a basis for comparison.


from a center, punctuated by strategic chords played by someone who knows what he’s doing (perhaps to a fault) will go ape over this CD. If fractal patterning is a favored sensibil-ity, then here’s the cat’s meow. Even the more mellow set of players, those more in the tradi-tion of Joe Pass, will find much to learn from here. If there is a down side to the entire re-cording, at least for stodgy old melody prone geezers, it’s this: all the tunes sound a bit too instructional, too theoretical and analytical at the cost of that oft sought after quality called

soulfulness—that ability of the likes of Miles Davis, Johnny Smith, or B. B. King to travel “miles” on one, long, sustained note, the abil-ity to make the listener relish each road sign or root. But shucks, analysis isn’t always paraly-sis and such is the case here. Professor Stone presents eleven fine lessons in how to really play the guitar.


Dizzy’s Club: 5/24-5/29

Bobby Broom www.jalc.org Dizzy’s Club Coca Cola: 8/8 On Monday, August 8, Bobby Broom’s Deep Blue Organ Trio heads east from Chicago to make their long-overdue New York City debut at Dizzy’s Club Coca-Cola, where they’ll also cele-brate the release of new album Wonderful! With Wonderful!, Deep Blue’s fourth CD and second for Origin Records, guitarist Broom, organist Chris Foreman, and drummer Greg Rocking-ham pay homage to Stevie Wonder with nine of his composi-tions rendered anew in the jazz organ trio tradition of which they

have become among the world’s most prominent purveyors.

Patty Ascher www.bluenote.net Blue Note, Mon, 8/22

Brazilian singer Patty Ascher performs music from her new CD "Bossa, Jazz 'n' Samba." Ascher brings her alluring charms to bear on a set of striking originals and well-chosen covers. Ascher delights her audiences with vocals in English and Portuguese. Born in Sao Paolo, Brazil, Ascher grew up in a musical household. Her

father Neno was part of a very successful Brazilian band from the 70s called Os Incríveis (The Incredibles). As a singer, she cites Brazilian divas Leny Andrade and Gal Costa, along with American jazz divas Nina Simone, Ella Fitzgerald, and Dinah Washington, as important influences.

Carla Cook www.JazzStandard.com Jazz Standard: 8/11 – 8/14

A jazz singer/songwriter who sings standards beautifully, scats and does it all with impressive style and intonation. A native Detroiter, she grew up in a musically rich and diverse environ-ment. Cook goes beyond the American Jazz Standard Reper-toire. She reinterprets songs from the rock and R&B worlds. Her favorite artists range from Miles Davis to Chaka Khan to Johann Sebastian Bach. During her formative years, Cook studied privately voice, piano and string bass, and later moved to Boston to attend Northeastern University and earned a degree in Speech Communication. She has re-corded several albums. Her sextet includes: Darryl Ivey, piano; Lonnie Plaxico, Kenny Davis, bass; Bruce Cox - drums; Steve Kroon, percussion.

Rick Stone Trio www.lalanternacaffe.com Bar Next Door at La Lanterna: 8/26, 7:30, 9:30 & 11:30 Guitarist/composer Rick Stone and his trio with stellar bassist Marco Panascia and fiery drummer Tom Pollard celebrate the release of their new CD Fractals, in this special concert. Robert Silverstein of 20th Century Guitar calls Stone "one of the finest straight-ahead guitarists on the current NYC jazz scene," and we agree. Stone has earned acclaim for his previous CDs and has performed with the likes of Kenny Barron, Barry Harris, Ralph Lalama, Eric Alexander, blues singer Irene Reid, saxophonist Eric Person, and swing clarinetist Sol Yaged. A force to be reckoned with, Rick Stone knows how to swing. (Photo by Chris Drukker)

Aaron Irwin's Vicious World www.tomijazz.com Tomi Jazz, 8/27, 8:00 & 9:30 pm

Vicious World - a septet co-led by saxophonist Aaron Irwin and trombonist Matthew McDonald - reimagines the compositions of singer-songwriter Rufus Wainwright on their new CD Plays the Music of Rufus Wainwright and you'll get to hear that strikingly creative music at tonight's CD release concert. The band re-shapes the brilliant singer-songwriter's tunes for an unusual instrumental ensemble and the results are stunning. Joining Irwin and McDonald for this concert are guitarist Sebastian Noelle, bassist Thomson Kneeland, drummer Danny Fischer, violinist Eliza Cho, and cellist Maria Jeffers. Their music is fresh, hypnotic and unlike anything you've ever heard be-fore. (Photo by Bryan Murray)

Aaron Goldberg, Guillermo Klein Jazz Standard.com Jazz Standard: 8/17-21

Goldberg studied with Bob Sinicrope and saxophonist Jerry Bergonzi, attended the New School, before enrolling at Har-vard University, and won the Clifford Brown/Stan Getz Fellow-ship award. He became a member of Betty Carter's Jazz Ahead program, and has performed with Joshua Redman, Kurt Rosenwinkel, Madeleine Peyroux, and the Wynton Marsalis quartet, and Lincoln Center Jazz Orchestra, and has recorded with Terry Gibbs, Buddy DeFranco, and others. His new CD with Guillermo Klein is entitled Bienestan featuring their own

compositions. The group includes Miguel Zenon, alto saxophone; Guillermo Klein, piano, vocals; Aaron Goldberg, keyboards; Reuben Rogers, bass; Eric Harland, drums

Noteworthy Performances

JC Stylles www.Motema.com Showmans Jazz. 8/4 (8:30 PM) (125th & Morningside Heights)

Trumpets: 8/19 (8:00 PM), Montclair, NJ Australian-born, New York-based guitarist Guitarist JC Stylles new CD is Exhilaration & Other States. He is that rare artist who knows how to fire up a crowd with some relentless swing, cool them out with a relaxed groove or a beautiful ballad, and then reignite the blaze with a burning tempo that only a full-fledged master instrumentalist could conjure. His Motema Music debut evidences all this featuring a B-3 trio com-prised of veteran Pat Bianchi and drummer Lawrence Leathers.

John Abercrombie Organ Trio www.iridium.com Iridium: 8/26-8/28

Guitarist John Abercrombie traverses a wide range of genres and styles from jazz fusion to post bop and more. He has performed and recorded with Billy Cobham, Jack DeJohnette, Michael Brecker, Randy Brecker (including their 1970s band, Dreams), Ralph Towner, Dave Hol-land and many others. Abercrombie has recorded primar-ily for the ECM label during his career as a leader. He is

a graduate of the Berklee College of Music. (Photo by Eric Nemeyer)

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Steve Maxwell vintage and CuStoM druMS

Our Manhattan location is only a short distance from where Frank Ippolito had his great shop, which was where Steve studied with Papa Jo Jones back in the early 70s and where he got his first glimpse of the beauty of custom drums from Al Duffy, who was truly the first custom drum builder and a mainstay at Frank’s shop. We’re proud to be in Manhattan and we hope to carry on the tradition of the great shops like Frank’s.

NEW: Effective April 1, Willie Martinez joins our staff heading up our new repair department. Willie is the best in the business and his name is known all over Manhattan. Repair shop is open, so come on down and let us help you with your gear.

Our new shOp includes:craviOttO: World’s largest selection of Craviotto one-ply snares and drum setsvintage: Extensive inventory of high end vintage snare drums, sets and cymbalsMuseuM: A showcase for some of the rarest and historic sets and snares. gretsch: USA Custom drums in bebop sizes made famous by the 60s era jazz greats and including our Gretsch Vintage Tribute kits available only through us. True vintage build out with rail consolette and even burgundy sparkle among other colors.cyMbals: Istanbul, Bosphorus, Zildjian, Old As, Old Ks, Dream and our own Turkish made Session cymbals· All of the great sticks, heads, hardware, bags,

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practice space: Our NY store has drum set practice available for rent on an hourly basis. Call 212-730-8138 for details!teaching studiO: Ron Tierno has relocated his long standing teaching studio to our shop. Call Ron directly at 646-831-2083 for lesson information and visit his site at www.nydrumlessons.comnew! We now have our brand new vintage style Rail Consolette tom holder assembly in stock. Check it out on the website and in our stores.

410 S. Michigan Ave. Ste 802Chicago, IL. 60605 • 312-360-9881723 7th Ave. • 3rd FloorNew York, NY. 10019 • 212-730-8138Steve’s cell: 630-865-6849www.maxwelldrums.com

MANHATTAN and CHICAGOOur Manhattan shop is located at 723 7th Ave. 3rd floor. We’re right at the corner of 7th avenue and 48th street, which is known as “music row” in Manhattan. Our NYC manager is Jess Birch and he and Steve will both be at the shop. Steve is in the Chicago store on Saturdays.

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McCOY TYNER QUARTETFEATURING RAVI COLTRANE

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JazzInsideNY August 2011